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KERAMIC STUDIO 
taking perhaps two hours to fire it or more, and, after you have 
given it a good hot fire once, you will consume all the carbon, 
and then, after that, you may not have any more trouble, if 
you do not feed the oil too fast, and have the heating stove or 
whatever it may be, dampered off when not in use. When 
there is fire in your heating stove it does not cause as much 
trouble as when it is dead. 
If you find the carbon collecting, and the burner smoking 
during the firing, turn the oil down to a rapid drop, and take 
the plug out of the front of the kiln, allowing a rush of air to 
go into the combustion chamber, and, in a few minutes, it will 
clear up, and you can go on with the firing. If you have an 
unobstructed flue for the exclusive use of your kiln, in a good, 
high chimney in your house, you will never have any diffi- 
culty such as you write about. The kiln is a natural draught 
kiln, and requires a good, unobstructed draught to make it a 
success. 
PORCELAINS— ADELAroE ALSOP ROBINEAU 
(Illustrations of the Scarab vase, the Lantern and the Daisy vase will be found in 
August, J9II, Keramic Studio.) 
CHICAGO ARTS AND CRAFTS EXHIBITION 
VASE, LANDSCAPE DECORATION— ROOKWOOD POTTERY 
CHICAGO ARTS AND CRAFTS EXHIBITION 
ANSWERS TO CORRESPONDENTS 
C. G. E. — Mother of Pearl lustre should be flowed on very heavily. 
The cause of its firing out is probably due to its not having been ap- 
plied heavy enough. An over fire may also cause it. 
A. M. T. — If the kiln used had an iron fire pot the cause of your 
rose discoloring is probably due to dampness in the kiln. If rose is 
underfired it is a bricky color and the color remains on the surface of 
the china. The cause of the gold rubbing off was probably due to being 
underfired. 
M. B. W. — ^A punch bowl may be placed on the bottom of the kiln 
with a stilt under it or something to raise it sUghtly or may be placed 
against the side by standing it on edge and placing a fire clay shelf support 
or something of that kind under the base to keep it from shpping. Fire 
very slowly at first until color is seen in the kiln. 
M. A. K. — For enamels use four parts Relief White, one part Hard 
White Enamel and a bit of flux and add color desired for the light 
enamels. Use a bone knife for mixing, grind thoroughly. Use the 
tube Relief White, add a very httle lavender oil before giinding and 
then thin to the proper consistency with lavender as you use it. Enamels 
should not be affected by lustres in the kiln, probably something you 
used in mixing was not thoroughly clean. 
