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RERAMIC STUDIO 
The European potteries in the Ceramic room of the Muse- 
um of Fine Arts in Boston have recently been completely re- 
arranged under the direction of Samuel B. Dean. This col- 
lection had grown so fast through bequests, gifts and loans that 
all the cases were overcrowded and effective display was 
rendered impossible. Consequently a thinning out was needed 
as a preliminary step for rearrangement. About 304 speci- 
mens were put out of commission^ some of them permanently, 
others to await better accommodations at the new building. 
The remaining collection is smaller, but far more effective. 
Work from the noted potteries is now properly grouped, and 
only the very choicest speciiaiens are shown. China collec- 
tors and others interested will find the rearranged cases A^erj^ 
instructive. 
The Museum's Wedgwood collection, which is very strong, 
now occupies seven cases; Italian Majolica, six; old Delft, two; 
Hispano-Moresque, one, and so forth. One of the most attrac- 
tive features of the new arrangement is the gathering of 1 8th 
century figures and groups, which are shown in three floor 
cases near the door to the textile gallery. — Boston Morning 
Herald. 
•f If 
As a tribute of friendship and esteem. Kaiser Wilhelm 
presented to Ambassador Andrew D. White a porcelain vase, 
the product of the famous Royal Porcelain Factory at Charlot- 
tenburg, near Berlin. It is a fine specimen of the beautiful 
ware which for several centuries has been utilized by Euro])ean 
sovereigns in making gifts to the oljjects of their favor. The 
ware is a creamy white in color, with ornamentation in gold. 
On one side in colors is the bust of Emperor William in the 
uniform of an admiral, and on the other side is a view of the 
royal palace at Berlin. Beneath the bust of the Emperor is 
the imperial crown, and beneath the palace the royal crown. 
^ If 
In Roj^al Doulton are seen i)itchers and vases in extremely 
weird effects. These are tall and slender in shape and arc 
colored a deep highty glazed brown. On one side of each is a 
mysterious figure done in full reds, yellows and black. A lean 
Pied Piper stalks on one, rats scamper about his heels and a 
stormy sky is suggested in the background. On another a 
witch in pointed hat crosses over a tinj^ black cauldron set in 
the foreground. From the pot a thin line of steam arises to 
curl in halo form about her head. 
BLEEDING HEART (First Mention) 
Emma Armstrong Irivin 
PAINT background in gre}^ for flowers, shading into dark 
green No. 7, the leaves and stems in moss, olive and 
shading green with a little violet of iron. The outer part of the 
flower is a delicate rose and the imier a creamj^ white with the 
dark seedlike sections at the lower ]3art a mauve. 
