KERAMIC STUDIO 
93 
make it over into the honey of this day and people. We must 
not get the erroneous idea that the knowledge of ancient 
forms, used in the ancient way, is the end of our study. It is 
like the practicing of scales, only in 
order that we may acquire the techni- 
cal skill to evolve harmonies of our 
own. For example: we study Chinese 
decorative art until we understand 
thoroughly their wonderful combina- 
tion and balance of color ; we study 
the forms so that we can learn from no. s. 
them the fascination of conventional representation and can 
recognize the underlying principles of decoration as they use 
it, which are also found in the arts of other nations under 
different aspects. We gather from them all the suggestions 
we can, then when we are thoroughly imbued with their dec- 
orative feeling, we can take any decorative motif and evolve 
from it a design entirely our own and entirely modern, be- 
cause whatever knowledge we acquire must be tinctured with 
the modern feeling unless we are ourselves antediluvian and 
unprogressive. We repeat with Owen Jones : "The study of 
Historic Ornament is for the progressive development of 
the forms of the past." 
1<p%$&& 
<*m 
^Sv( 
X 
^1^ 
LUSTRES 
PEARL GREV 
Pearl grey lustre is chiefly useful where a neutral tint is 
desirable in decorative work. Usually two or three coats im- 
proves the color. 
COVERING 
Covering for gold gives a. beautiful irridescence used over 
bright gold, copper and silver. It is a valuable lustre. 
COPPER 
Copper, by itself, is a fine rich color, resembling the old. 
fashioned copper lustre. Used with covering for gold over it, 
the effect is an iridescence, through which the copper still 
shows. Other colors which look well over copper are both 
greens, ruby and violet. 
