78 
RERAMIC STUDIO 
smeared with damp sand so as to completely fill the openings. 
The flue lining which we will now call the muffle A is set 
upon two piers of fire brick F F. The left hand pier is solid, the 
right hand, in the part shown by the dotted lines, is spaced out, 
brick from brick, so as to allow' the flames to pass. These take 
the course shown by the arrows, passing over the muffle and 
down the other side, being impelled by the draft of the chimney. 
The chimnej^ may consist of ordinary iron stove pipe or of terra 
cotta flue lining. It should be not less than ten feet high and 
secured bj^ iron staj^s. 
In the foundation of the kihi three passages are showai, one 
through wliich the oil pipe C passes to the burner B, the others, 
marked G, are air passages leading to the burner. Of these 
there should be at least four on each side. There should also be 
openings both back and front for the admission of air to the 
burner. The burner B is a shallow iron trough which runs the 
whole length of the muffle. The oil is supplied by the pipe C 
which is arranged so that the oil from a suitable vessel may flow 
into the open end. Thus the stream of oil, being in sight, can be 
easily regulated. 
The opening in front of the burner must be fiUed with loose 
bricks so that lighting and observation maj^ be easy. The 
outer walls and arch of the kiln are built of fire brick. The 
joints on the inner side shovild be filled with fire clay, on the 
outer side with mortar, or, better still, a second wall of red brick 
laid in mortar may be built outside the fire brick. This will 
secure a permanent job. 
These walls need not be torn down if the muffle breaks but 
a new muffle can be set in from the front. 
In order to start the fire a gentle stream of oil is allowed to 
run and a wisp of asbestos set in the burner will allow the oil to 
be lit. As the heat rises more oil is supplied and the air holes 
kept clear. 
The degree of heat depends mainly upon two things, the 
width of the flues D D, and the height of the chimney. The 
flues should not be more than two inches wide, this will assist 
radiation from the walls and quicken the firing. The chimnej^ 
supplies the draft and there must be plenty of this to secure a 
good current of air and to prevent reduction. 
With regard to the duration of the firing no comparison 
can be made with the overglaze kilns which fire in about one 
hour. Pottery needs a long, soaking fire and must be given 
plenty of time. This kiln ought to give good satisfaction in 
about four hours but if it runs to six or even eight liours the re- 
sults will be better. It will be necessary also to attain a higher 
temperatvire if a shorter burn is made. For the work described 
in these papers Cone i is enough but Cone i in a larger kiln will 
mean Cone 2 in a small muffle if the same results are to be had. 
It is, in fact, almost impossible to lay down rules for any kiln, 
kilns have individual characteristics and must be governed 
accordingly. 
There is no'part of the profession of a clay-worker which 
tries the patience and the temper more than kiln work. Per- 
haps this is the reason why clay-workers have usually a good 
share of the philosophy of the Cabbage Patch. They have met 
and overcome so many troubles that they are no longer easily 
moved. The sooner our studio workers reach this stage of de- 
velopment the better for them and for their art. 
A NEW POTTERY SCHOOL. 
Mr. Edwin A. Barber, Curator of the Pennsylvania Mu- 
seum, Philadelphia, writes to us that a Potter3^ School wifl be 
added to the Art and Textile Schools connected with the Mu- 
seum, which number now about looo pupils. Pie wishes to 
find a competent and practical teacher of pottery work to 
take charge of the new department. 
TREATMENT FOR TEA TRAY IN CHINA— (Page 93) 
Henrietta Barclay Paisi 
DRESDEN Yellow Ochre and Chocolate or Dark Brown are 
the two colors needed to carry on this design. Lay in the 
flesh tones with a thin wash of Yellow Ochre and the background 
with a deeper tint of the same color. The hair and outline, tea- 
pots, etc., in the DarkBrowm. The letters on background and 
teapots on border may be done in gold and give a very pleasing 
effect with the Cream and Brown. Or the letters may be in 
Brown and the border in Cream. In case of the letters being in 
gold they should be outlined or accented with Brown. 
STUDIO NOTES 
Mr. F. B. Aulich has opened his studio for summer and 
fall classes. He has on view some new studies of wild flowers 
painted dtuing his recent trip through North Carolina. 
Miss Mabel C. Dibble is spending the summer in South 
Ha^'en, Mich., and will not reopen her Chicago studio before 
October 1st. 
Mrs. Sarah Wood Safford will teach in Springfield, Mass., 
during the latter part of September, opening her New York 
studio the 1st of October. 
Miss M. Louise Cowen of Toronto, Canada, is spending 
the summer on the Pacific Coast. She will open a class in 
Vancouver, B. C. in September, and will return to Toronto in 
October. 
WILD CRABAPPLE BLOSSOMS 
Nina Lumbar d 
SKETCH the design with care, preserving the knotted 
stems which are characteristic of the Wild apple branch. 
Make a soft background of deHcate grey green, using Apple 
Green, Rose and Copenhagen Blue; wipe blossoms out, keeping 
edges soft. Shade with grej^ for flowers and add a thin wash of 
Rose, deepening on the edges, where the blossom is most pink; 
keep the leaves in cool greens, using Apple, Moss, Royal and a 
little Yellow Brown. Stems, Finishing Brown. Centres, Yel- 
low with Yellow Brown accents. Give the design two workings, 
accenting and modelling in second fire. 
