KERAMIC STUDIO 
23 
banks of the Seine, between Paris and Versailles. It was 
created by Louis XV because the soil furnished a porcelain 
clay entirely novel in the modelling of fine articles. Ever 
since the factory has been protected by French rulers. The 
most prominent artists of France, both painters and sculptors, 
have been attached to this factory. There is probably not a 
royal palace in Europe that does not possess one or more cel- 
ebrated specimens of the Sevres ware. The White House 
itself possesses a Sevres service which always appears at state 
dinners. 
Without doubt the most unique feature of Newcomb 
College, New Orleans, is the pottery, a little, low, brick 
building completely bowered over by oak trees, wherein 
the exquisite art of the potter is pursued to a rare perfection. 
The pottery was started some four years ago, and was, as can 
welj be imagined, an important and rather venturesome 
departure. The success, therefore, which has attended the 
undertaking has been remarkable and must be doubly a source 
of pride to the community that Southern girls are fashioning 
from Mississippi and Louisiana clay jugs, jars and other earth- 
enware articles whose beauty and finish are finding a place in 
the art centres of the country. Miss Sherrer is the able 
master of this department, and under her guidance inspection 
of the work takes an added charm. It is a little education to 
go through the workroom and watch the potter turning the 
soft clay into slender rose jars and squatty bowls and queer- 
shaped vases of the pupils' designing, and see the young artists 
decorating the ware; now gracing a tall jug with banana 
leaves, now a plaque, rimmed with a quaint design of cotton 
plants, now a jar wearing an odd decoration of sugar cane and 
reed grasses. From girl to clay and from clay to finished 
vase, all, one might say, are indigenous to Louisiana soil. 
The distinguished color of the ware is blue and bluish green 
upon white and buff, and again black and yellow and green 
upon dark red. — Exchange. 
HINTS FOR TREATMENT OF ROSES STUDY 
Marshal Fry, Jr. 
FIRST PAINTING.— The pink flowers should be painted in 
with a pale wash of Pompadour Red, and touch of Yellow 
near the calyx. The yellow ones require Yellow Brown, Albert 
Yellow, Brown Green and Violet No. 2. The red roses are 
done with Ruby or Roman Purple. 
The leaves and background need Moss, Royal, Brown, 
Shading and Russian Greens, Violet No. 2, Copenhagen Blue, 
Meissen Brown and Black. The dark color in the lower right 
hand corner is black mixed with Copenhagen blue. When 
the color in the background is used thin, a little "ivory glaze" 
may be mixed with the paint with agreeable results. There 
being no carmine to injure, the piece may be given a hard 
firing. 
SECOND PAINTING. — Retouch pink roses with rose, also 
a little Yellow Brown and Brown Green; yellow ones with same 
colors used before ; and the red ones may be strengthened in 
darkest parts with Finishing Brown. A wash of Rose over light- 
est side will give brilliancy. The background will need about 
the same colors used in first painting, adding a touch of Yellow 
Red for the warm glow under the red roses. 
The third painting enables one to add accents and washes 
where needed. More Ruby may improve the red roses, and a 
little Blood Red may also be employed. 
TREATMENT OF ROSES IN WATER COLORS 
Rlioda Holmes Nicholls 
IF flesh and roses are the two most exquisite subjects to 
paint, surely we have now a most delightful opportunity. 
The coloring is superb, especially the pale tones of the pink 
roses, as closely resembling the human flesh tones. There is 
no medium in which Roses can be depicted so well as in 
Water Color. There is something in the medium which 
particularly lends itself to the subtle quality of the petals of 
the roses. The secret of getting this quality is entirely in the 
manipulation of the color and the quantity of water used. If 
too much water is used and too little color, it will fade away 
when dry, and leave the ghost of what was intended. So the 
student must not be discouraged if success is not achieved the 
first time. Water colors require much experience before you 
can master the medium. The thoroughly artistic qualities 
repay the amount of labor required. 
The paper best adapted for this delicate subject is What- 
man's 75 lb. or 90 lb. paper ; it is thin and therefore keeps 
damp — being close to the wet blotting paper underneath. 
This renders it a little more difficult for those not accustomed 
to work on wet paper, and if the student is not careful it will 
all run into chaos. It all depends how the different strokes 
are put on. 
Draw the roses carefully with Rose Madder; the principal 
leaves, too, should be suggested. Then blot in the background 
without which the flowers will have no value. Begin at the 
top left-hand corner and paint the whole background as far as 
the roses ; that is as much as you can manage at one time. 
Keep it wet and paint it a little fuller in tone than it appears, 
allowing for it to dry a little lighter. The colors to use are 
Antwerp Blue, Emerald Green, broken with Indigo, and at the 
lower portion introduce Aligarin Crimson and French or 
Cobalt Blue. Try and keep the background wet for a long 
time, so as to be able to blot in the color of the roses before 
it is dry and also the shadowy leaves. 
The colors used in the pink roses are Rose Madder, a little 
Hooker's Green, and Indian Yellow; here and there a touch 
of Vermillion and possibly a little touch of Cobalt Blue. 
Remember always that Rose Madder is a cool color and helps 
to form the greys without much blue. 
The drawing is of the utmost importance, and the sharp- 
ness of the toucli will give the vitality to the work. Some of 
the lights should be lifted out with blotting paper that 
has been cut to a sharp edge. At the very end of the 
painting a little Chinese White mixed to give the tone 
should be added, as on the edges of the principal rose and on 
the stem. 
It is now time to consider the other side of the back- 
ground. The chief difficulty will be to unite the two sides. If 
they have dried too much, pull them up with a bristle brush, 
and then continue to paint — use Indigo, Light Red and Indian 
Yellow. Further down add a strong tone of Burnt Sienna, 
merging into Indigo and Raw Sienna. Work the leaves into 
this, the same way as on the other side. For the dark roses 
use Aligarin Crimson and Cobalt Blue added to the back- 
ground color. For the tea roses use Cadmium, Rose Madder 
and Cobalt Blue. 
Many of our readers will not want to copy this literally, 
but will make an arrangement for themselves out of it. The 
main group is a picture in itself. Observe how the interest 
has been centered there, the other flowers only echoing the 
color and form. 
