16 
RERAMIC STUDIO 
Solon's playful and poetic invention, but fails to express his 
exquisitely delicate and sensitive execution. The pretty 
humour of the "Washing Day," for example, is accent- 
uated, if possible, by the severity of the composition. But 
it has, notwithstanding its academic type, a curious dash 
of coquetry, which is essentially French. Mr. Laurence A. 
Birks was a fellow pupil of mine in M. Solon's Studio. It is 
to be regretted that his work in pate-sur-pate is now tentative 
and occasional. 
(To be continued.) 
FUCHSIA VENUSTA (Page 2) 
Lucy M. Shaver 
PAINT flowers with Carnation veiy delicate; the calyx 
is Auburn Brown; for the stems use Brown Green and a 
little Yellow Brown; the leaves are Yellow Green and Copen- 
hagen Blue very thin for the leaves are delicate Grey Green. 
Second Fire — Paint background with Apple Green and a 
little Violet, shade toward flowers with Blood Red. Touch the 
flowers with Blood Red on shadow side. Strengthen the leaves 
with same colors used in first firing. 
PLATE— L. R. LIGHTNER 
TRACE the design and outline with India ink, making the 
necessary corrections. Paint in the bands and the form 
which connects the flowers in the outer border with three parts 
Banding Blue and 1 part Copenhagen Blue. The leaves are 
two parts Sea Green and one part Banding Blue. The outline 
Treatment by Jessie M. Bard 
around the flowers and the dark spots in them is Apple Green and 
a very little Violet No. 2. Give this a very hot fire. Second Fire- 
Oil over the entire surface with Special Tinting oil and pad un- 
til tacky, then dust with Peai'l Grey and a very little Deep 
Blue Green, just enough of the latter to give it a bluish tint. 
