KERAMIC STUDIO 
167 
MARKS. 
There are three classes of marks that one sees on pottery 
and porcelain. I. Factory marks. 
2. Artist's marks. 3. Dates. These 
are either painted or scratched in the 
paste. Some marks are used only 
by the workmen to identify the work 
for payment by the piece, and are 
unimportant of course. The same 
factory used different marks at dif- 
erent periods. So a piece may often 
have several marks, including the fac- 
tory, gilders and artists. 
The Dresden factory (Dresden, 
Meissen and Saxon apply to the 
same factory) is divided into three 
periods. 1. The King's period, be- 
ginning in 1 73 1 and ending 1756. 
2. The Marcolini period ending 1 8 14. 
3. The modern period. The King in 
person, superintended the factory 
from '31 to '33, but usually this 
period is extended until the break- 
ing up of the factory by the war in 
'56, and some extend it to Marco- 
lini's time. 
The Dresden factory marks are 
usually in blue, under the glaze, and 
vary because of the rapidity of the 
workmen. The earliest mark is the 
monogram, A. R. (Augustus Rex), 
used from 1709 to 1712, on all pieces 
for royal use. The crowned mono- 
gram is found in gold. The wand 
of yEsculapius, or mark of the cadu- 
ceus of Mercury, alluded to the first 
profession of Bottcher. The mark 
was used only on pieces for sale, 
from 1 71 2-1 720, and is found on 
pieces decorated in oriental style. 
In 1712, the crossed swords, 
taken from the arms of Saxony, 
were adopted, with a dot or a circle 
between the handles to indicate the 
king's period. During the Marcolini 
period, a star was substituted. The 
modern mark is the crossed swords, 
sometimes with letters or numbers. 
The "B" between the handles was 
sometimes used during Bruhl's man- 
agement, also the letters " M. P. M." 
(Meissenu Porzellan Manufactur). 
The letters " K. P. M." (Koniglicher 
Porzellan Manufactur), are found on 
early specimens, but are rare. 
All pieces of white Dresden por- 
celain sent from the royal manufac- 
tory are marked with a cut above 
or through the swords. This ena- 
bles one to detect specimens decor- 
ated elsewhere. Imperfect pieces 
are also marked with one, two 
three cuts across the swords, accor 
ing to the degree of imperfecti 
TREATMENT OF BERRY BOWL IN BLACKBERRIES 
Jeanne M. Steivart 
LAY in berries in masses of light and shade, paying special 
attention to modeling in light tones, wiping out high 
lights with small pointed shader. Use Banding Blue and Ruby 
Purple in light tone ; same with a little Brunswick Black added 
in dark ; shadow berries in flat wash. 
Wash in a background around blossoms with Ivory Yel- 
low and Grey for flowers, wiping out the white petals, touch- 
ing in centers with Albert Yellow, Yellow Brown and Brown 
Green. In shadow leaves use Grey for flowers, Blue Green 
light. Yellow, Blue, Olive, Shading and Brown Greens, Al- 
bert Yellow, Yellow Brown, Chestnut brown and Pompadour 
are used in the leaves. 
Finish tips of leaves with Yellow and Red Brown tones ; 
stems in Yellow Green shaded with Ruby Purple. Some of 
the smaller leaves and berries may be painted with Chestnut 
Brown and Pompadour. 
In background around prominent berries use Ivory Yel- 
low, blending into Yellow Brown shading to Brown Green, 
Pompadour and Chestnut Brown on base of bowl. 
Delicate flushings on lighter side of bowl may be painted 
in Pompadour and Ivory Yellow with possibly a dash of Tur- 
quoise Green and Ivory in clouded effect. Inside of bowl 
may be painted in Ivory and Pompadour or finished in deli- 
cate shadow design of berries. In second painting strengthen 
dark tones with same colors, adding detail, keeping base of 
bowl very dark. 
BLACKBERRIES IN WATER COLORS 
Mary Alley Real 
THE centre branch of berries being of most interest must be 
the strongest in color and drawing, making the rest sub- 
ordinate to it. For the berries in this branch use New Blue, 
Aligarin Crimson, Payne's Grey and burnt Carmine, making 
some parts redder than others and keep the dark side in full 
rich tones of bluish Purple. Model each berry at first as a 
whole but be careful of the drawing, leaving out the high 
lights. When a little dry, put in crisp dark touches to form 
the tiny divisions. When entirely dry use a thin wash of 
Chinese White for the bloom of the berry. Have the leaves 
near the berries rich and dark; for this use Hooker's Green 
2, New Blue and a touch of permanent Violet. For the light- 
est tones use Lemon Yellow and Emerald Green ; use these 
colors also for stems and calyx of berries. The blossoms are 
creamy white, shaded with a grey made of Cobalt Blue, 
Lemon Yellow and Rose Madder ; also some touches of 
Lemon Yellow and Payne's Grey ; the centres of Light Green 
made of Lemon Yellow and Emerald Green; stamens of 
Lemon Yellow, Raw Sienna and dark touches of Payne's 
Grey. For the woody steins and heavy thorns use Payne's 
Grey and burnt Carmine, in some places the burnt Carmine 
alone. In the subordinate branch make some of the berries 
unripe, using Vermillion and Emerald Green. For all shadow 
berries, stems and blossoms, use Payne's Grey, burnt Car- 
mine, and sometimes a touch of Hooker's Green 2, making 
redder and bluer as needed. Lay in your background while 
the berries are still moist, so as .not to have hard edges. Dark 
bluish green mars the berries. Shade off to light blue, green 
and yellow, running the background over some of the leaves 
and berries to give proper perspective. Background colors, 
Payne's Grey, Burnt Carmine, Hooker's Green 2, Cobalt and 
Lemon Yellow. 
