KERAMC STUDIO 
129 
King's Lynn, in England. We found people there who had 
old curiosity shops and things in which they were so much 
interested that they did not care to sell. One man went 
down to Cambridge, but there was no demand for the things 
he had, he said, for the people did not care for his old blue 
representing English events, as our people have not cared so 
much for American scenes." 
POTTERY IN ROOM DECORATION 
A MOST valuable adjunct to the furnishing of any room is 
what is variously termed a plate rail or moulding rack. 
It is more generally used in a dining-room to run around and 
finish the dado line, at the height of the ordinary chair rail ; 
but there is no reason, no breach of the proprieties to furnish 
any room with such a rack, with a ledge sufficiently wide to 
rest bric-a-brac upon it. People who collect bric-a-brac want 
to show it. It is not the gratifying of their pride so much as 
the gratifying of their pleasure in being able upon all sides 
and at a glance to see their treasures which they value as a 
lover of books values the beauty of the bindings. Cabinets are 
very good, but there is no cabinet outside of a showcase that 
gives a full view of its contents to the casual observer. Hall- 
ways, libraries, dining-rooms and studies can be improved very 
materially by a rack wide enough to hold bric-a-brac. We 
have in mind a hall finished with a deep green dado with an 
old oak plate rack and bric-a-brac ledge and the side-wall of 
orange softened at the frieze line by a grey and green pattern. 
This side-wall of orange made an excellent background for 
framed etchings and its special value was the setting which it 
gave to the dark pottery of the Rookwood colors and oxide 
finishes which rested upon the ledge, going entirely around 
the room. People who have bric-a-brac, old plates and pottery 
would recognize in a moment the advantages of this ledge. — 
China, Glass and Pottery Review. 
The most brilliant effect in a dinner service is seen in a 
combination of rich red, gold and enamels. Use best English 
maroon, but be careful not to use the color gaudily. Just a 
plain rich band of the maroon, with one-half inch gold band 
on the edge, which may be ornamented with an oriental 
design, or something more simple in raised paste and enamels. 
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THISTLE CUP AND SAUCER 
r I "'HIS simple little design can be treated in natural colors, 
1 mineral or lustres, with touches of white enamel on 
thistles. Deep Violet of gold makes a good color for the 
flowers, or Violet in the lustres. The design can be outlined 
with good effect if desired. The edge of cup and saucer can 
either be left white or tinted pearl grey or celedon, or a gold 
edge could be used. The little jewel effects can be put in 
white or any desired color. 
