192 
RERAMIC STUDIO 
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TREATMENT FOR POPPY DRAWINGS 
Sara Wood Safford 
THE light poppies may be painted in very tenderly with 
Carnation, leaving some almost white lights upon the 
petals. A touch of Violet wdth the Carnation will make a soft 
warm grey tone for the shadows. Blood Red and Ruby may 
be used for the darker flowers for the first painting and in the 
second working, Carnation may be w^ashed over the dark color 
to give the brilliant effect. 
Use some very fresh greens in the buds and small leaves. 
Apple Green and Blue Green for the brightest parts, grej^ed with 
Violet for lower tones and where a mass of foliage is suggested. 
Violet Shading Green with a touch of Black will be found a 
good deep harmonious color. 
Use Violet and Black in the centres of Dark Poppies and in 
the lighter ones, Violet and Dark Green. 
If the worker wishes to have w-hite poppies, Violet and 
Yellow will make a soft grey for shadow^s, but if pink is used in 
another flower of same group then use Carnation with Violet 
in some of the shadow tones. 
THE MANUFACTURE OF DELFT 
IN the year 1649 the first factories were established for the 
manufacture of pottery at Delft, in the province of South 
Holland; followed shortly thereafter by the establishment of 
other factories in several different cities. The product of these 
factories received the name of Delft ware and soon found its 
way over the larger part of Europe; in fact, as early as the year 
1667, in the town of Delft alone, there were twenty -eight pot- 
tery factories, the number increasing to seventy at the end of 
the nineteenth century. The productions meeting with the 
most favorable impression and sale were those in imitation of 
Chinese and Japanese porcelain. 
Nothing in business is more uncertain than the demand for 
articles of luxury, and during the fluctuations of trade two 
j^oung pottery makers of Delft went over to England and in- 
troduced the ware in that country; this, in turn, was improved 
upon by Wedgwood to such an extent that in 1770 he founded 
an entire manufacturing town — ^Etruria, in Devonshire. 
From that time the manufacturing of pottery was 
introduced and experimented with in England and Delft ware 
became more and more forgotten until its manufacture almost 
ceased. But the ordinary wear and tear of a century caused 
the original Delft ware to become rather rare, and thus it 
became a desirable antiquity. This was the cause of a recent 
revival of the industry, and in 1877 an establishment was once 
more opened for the manufacture of this ware at Delft. Its 
success was soon an assured fact. The new productions were 
fine in form, artistically painted in blue cobalt, after the paint- 
ings of the old Dutch masters. The Delft ware regained 
the old time renown and became again an object of demand, 
not only in the Netherlands, but abroad. 
The example given by Delft has already been followed 
bj^ Utrecht, Puemerend, Gouda and Makkum, where factories 
have been established; and the manufacture of sculptured 
pottery, which flourished at Lemmer in former days, has again 
been taken up in that city. 
BROOKLYN EXHIBIT 
THE annual exhibition of the Brooklyn Society of Mineral 
Painters took place at the Pouch Gallery, Tuesday and 
Wednesday, December 1st and 2d. The standard of work 
shown by this club is higher from year to year, and this exhibi- 
tion has been no exception. 
The value of study and work along definite lines, is evi- 
denced by marked advancement in the w'ork of several members 
Miss Johnson and Mrs. Osgood had an interesting display of 
pottery made at Ipswich and Alfred, respectively, as well as 
inany charming conventionally decorated pieces. 
Many other members showed interesting work but lack of 
space and illustrations prevents going into detail. 
