KERAMIC STUDIO 
but subjects in color wait their turn. We are but just six 
months old, we are growing beyond our expectations, yet it 
will be some time before our subscription list will warrant an 
issue of a color supplement every month. It all depends 
upon the subscribers. The more they help us to swell our 
subscription list, the sooner will come the time when they can 
have their desires satisfied in this regard. 
At the Exposition in Omaha may now be seen a most 
valuable and interesting exhibition of decorated porcelain and 
pottery. The larger portion of the exhibit was loaned by the 
National League of Mineral Painters, from their late annnal 
exhibition in Chicago ; the remainder is selected from local 
artists of Omaha. It is a most unexpected and interesting 
surprise that greets a visitor upon entering the art galleries, 
to find many cases of beautiful china, which are well placed. 
The plates are most pleasingly arranged for a front view in a 
tall slanting case. The vases and pieces of pottery are well 
arranged in square standing cases in the center of the various 
galleries. The entire collection is varied, and well merits the 
location it has received. All persons represented by their 
porcelain, should be highly gratified that they have had the 
privilege of contributing to an exhibition that is so well 
received in this western city by its many visitors. 
Mrs. Nina E. Lumbard, who has a studio in both Fremont 
and Omaha, Nebraska, will send us an account in detail of the 
keramic exhibition at the Exposition in Omaha. She writes 
as follows : 
" Of course we are all glad for our show of keramics, 
now in the Fine Arts Building, yet I regret that some have 
taken advantage of the opening and have placed studio work- 
done under instruction on exhibition, as individual work. It 
seems too bad, for we should make our work an individual 
interpretation of motifs, and not a hackneyed copy. In the 
Liberal Arts Building is a 'live' exhibit, under the supervision 
of Mrs. Wright and Mrs. Morrow, in which they demonstrate 
the use of kilns and colors. They instruct such as wish it, and 
make practical the mysteries of interglaze work to the novice. 
In their department is also a branch of water color work as 
applicable to keramics, of which I can say but little, since I 
am instructor in this line of work. We study natural forms, 
not from the interpreted work of others, but directly from 
nature, this being one of my hobbies. In my own studio we 
have had a good class in the study of design and keramics, 
during the summer. The winter promises some good results 
from this serious line of study, and I take courage that I, at 
least may help raise a higher, broader standard for our work. 
GOLD 
Emily F. Peacock. 
To the amateur, the preparing of gold for keramic decora- 
tion seems a great undertaking, but with the proper appar- 
atus, materials and care, this should not be. Then the pleasure 
and profit derived from using pure gold, more than compen- 
sates for time expended. There are two methods generally 
used. In both, the metal is dissolved in aqua regia, and when 
precipitated is in the form of a light brown powder. By one 
method the gold is precipitated by ferros sulphate (copperas), 
the other by mercury. The former I prefer, and give as 
follows : 
Take four pennyweights of pure ribbon gold, cut into 
small pieces, and put in a large measuring glass or porcelain 
vessel holding not less than a pint, cover with about an ounce 
and a half of aqua regia, placing over vessel a piece of common 
glass. Let this stand over night in a large room, or prefera- 
bly, in the open air. In the morning pour this chloride of 
gold into two glass vessels, each holding three pints or more, 
being very careful not to waste a drop, as every grain counts 
when the precipitate is formed. Then make a solution, taking 
about a quart of warm water to an ounce of ferros sulphate. 
When thoroughly dissolved, add to the chloride until precipi- 
tation begins, clouding the liquid, and the gold in the form of 
brown powder will begin to fall to the bottom of the vessel. 
Let this stand four or five hours, or until entirely settled ; then 
pour off the clear liquid from the precipitate, treating it as 
before, as the gold held in solution may not all have been 
precipitated ; i. e., pour off clear liquid into another vessel, to 
this must be added more of the prepared solution, until it is 
cloudy as in the first instance ; if it refuses to cloud there is no 
more gold in solution. Wash the precipitate left in the vessels 
with warm water, let it stand until settled, pour off, and repeat 
the process twice. The washing consists of stirring the pre- 
cipitate with a glass rod a few times in the water. When it 
has settled for the last time, pour off the water and transfer 
to a shallow plate that will bear heat ; place over this a paper 
cover, and put in front or over a fire. When quite dry, rub 
down with a muller, when it is ready for use or to be fluxed. 
Divide your powder into pennyweights. In this way you will 
find out how much you have made. All liquid used should 
be poured through filter paper afterwards, to make sure you 
do not lose the smallest quantity. When dry this may be 
burned, and only the grains of gold remain. To make flux, 
use nitrate of bismuth, twelve parts, to one part of pulverized 
borax ; mixing one part flux to twelve parts of the gold pow- 
der. When ready to use, rub down to a proper consistency 
with fat oil and spirits of turpentine, taking care not to make 
it too thin. If made as directed, one coat of this gold is suffi- 
cient for most purposes. 
A couple of glass rods, several pieces of glass for covers, 
and a large jar to hold solution, besides vessels already men- 
tioned, will be necessary, and each one of these must be 
washed scrupulously clean before using. Glazed paper is best 
for wrapping up gold powder, and a small pair of scales will 
be found very useful. 
•f if 
DESIGN FOR PLATE IN THISTLES 
Jeanne M. Stewart 
AFTER sketching design, lay in the background, shading 
from Ivory Yellow to Blue Green and Shading Green. 
While the color is still open, wipe out design with clean 
brush, blending edges in shadow. Lights should be kept clear 
and white. Wash flowers in simply a mixture of Turquoise 
Green and light Violet of Gold ; leaves of Yellow Green and 
Blue Green (light) with Olive, Shading and Brown Green in 
shadows, taking out high lights very sharp and clear; seed pods 
in Lemon Yellow, Yellow Ochre and Chestnut Brown ; shadow 
leaves in Grey for flowers and Yellow Green. 
In second fire, work up design by accenting shadows with 
same colors as in first painting, adding detail. 
For third fire, deepen background with Shading Green or 
Black Green, bringing color well over edges of design in 
shadow, blending softly into light tones with silk pad. When 
color is almost dry and will not rub up, a light dusting of 
powder color, with pad of cotton will give depth and glaze. 
A few finishing accents may be added to leaves and flowers. 
