RERAMIC STUDIO 
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and colocynth (bitter apple) with very happy effects. These 
illustrations, however, fail to convey much beyond an idea of 
form, for the lovely metallic reflections, the depth of rich col- 
oring, the happy combination of two bodies must be seen to 
be appreciated. No. 8 although of conventional form is an ex. 
cellent example of diversified processes. The panels represent 
Champagne and Normandy or the plum and the apple, and 
are in pate-sur-pate. The branches of these trees are incised 
in the clay and then, when in the biscuit state, enriched with 
underglaze colors. Whilst M. Taxile Doat's works are known 
to a few cultured amateurs in this country, who are the happy 
possessors of specimens of his genius, I believe they have not 
before received more than a passing notice in contemporary 
literature, and I am glad to be able to present these illus- 
trations to the notice of the readers of the KERAMIC STUDIO. 
It may be added that the pieces emanating from Mr. Doat's 
atelier are from beginning to end the work of his own hands, 
as he employs no assistants and is responsible for these pieces 
from their conception to their finish. The combination of the 
craftsman and artist gives an added value to his productions. 
Those contemplating attending the schools of pottery 
would be greatly benefitted by sketching the forms of primi- 
tive Etruscan pottery, in the Metropolitan Museum of Art. 
Their proportions and curves and the relations of the various 
portions of the bodies to each other will be a profitable study. 
So few modern forms are really good. 
Many students are helpless with a lump of clay before 
them, a few good models from the ancients will be an inspira- 
tion. A little knowledge is a stimulating, as well as a danger- 
ous thing. 
8. Hard porcelain \ 
mat and bright g 
6r, hard poreela 
laud, ground in 
fiamme, black and white splashing*, 
nd mat. Shell shape cover in colorei 
porcelain pearls. 
