Vol. IV, No. 4 
NEW YORK AND SYRACUSE 
August 1902 
I HE Keramic Studio competition in designs 
from Historic Ornament has been satisfactor- 
ily concluded with quite as high an average 
of good work as the competition in modern 
design. So difficult was it to choose among 
so many praiseworthy efforts, that it has 
been decided to give two first prizes and 
three second prizes. Among the eight first mentions were sev- 
eral that came close to second prize and the nine second men- 
tions were not far behind. There were many good designs 
also among those which received no mention at all. 
It is plainly evident that Keramic designers are recogniz- 
ing a higher standard and are working with a will to attain it. 
A comparison of the work sent in last year, in both modern 
and historic design, with that received this year shows a step 
forward almost beyond belief. It is a portent of great things 
to come. The awards in the competition were as follows: — 
First Prizes.* — Frances J. Butler, Beverly, Mass. ; Rock- 
wood Moulton, Brooklyn, N. Y. 
Second Prizes. — Lillie E. Cole, Chicago; Edith Loucks, 
Oak Park. 111.; Ethel Mundy, Syracuse, N. Y. 
First Mentions. — Emily Peacock, Brooklyn, N. Y. ; Edith 
Loucks, Oak Park, 111.; Jeannette Kimball, Yarmouth, Maine; 
Russell Goodwin, Marblehead, Mass.; Nellie V. Hamilton, 
Brooklyn, N. Y. ; Alice Witte Sloan, Charleston, S. C. ; Ethel 
Pearce Clements, North Easton, Mass.; Alice B. Sharrard, 
Louisville, Ky. 
Second Mentions. — Mae Bertha French, Cottage City, 
Mass.; Rockwood Moulton, Brooklyn, N. Y. ; Ethel H. Lar- 
ter, Melrose, Mass. ; Katheryn Livermore, New Haven, Conn. ; 
Margaret Overbeck, Greencastle, Ind.; Eunice Eaton, Syracuse, 
N, Y. ; Mary Gibson, New York City; Grace Stephens, Bing- 
hamton, N. Y. ; Geo. Hoel, Hornellsville, N. Y. 
The Naturalistic designs for competition were, we regret 
to say, much behind those in the other two lines of work. 
While we have some good work, the proportion out of the en- 
tire number sent in was very small. Few designs seem to be 
made direct from nature. The awards were: 
First Prize. — Mrs. Henrietta Barclay Paist, Minneapolis, 
Minn. 
Second Prizes. — C. Frank Ingerson, Chicago ; Mariam 
Candler, Detroit, Mich. 
First Mentions. — Mrs. E. Brame Van Kirk, Whatcomb, 
Wash.; Euphemia B. Wilmarth, New Rochelle, N. Y. ; Mariam 
Candler, Detroit, Mich.; Mrs. Henrietta Barclay Paist, Minne- 
apolis, Minn. 
Second Mentions. — Nellie Sheldon, Boone, la. ; Alice 
Seymour, Des Moines. la.; Alice Pflager, Chicago; Mary 
Burnett, London, Ont.; Hattie Young Palmer, Indianapolis, Ind. 
A little over two hundred designs were sent in, about 
fifty of which were naturalistic studies. When it is considered 
* Lack of room prevents us from giving any of the first prize historic 
designs in this number. The design by Miss Frances J. Butler will be 
given, in colors for our October supplement. 
that beside these about two hundred were received in modern 
designs, the interest shown in Keramic designing is extremely 
gratifying and can not be without final results of some artistic 
magnitude. 
The naturalistic designers should mark more carefully the 
important characteristics of the stems, leaves and blossoms, 
or in other words, "the plant growth," so that there may be 
grace and ease and a certain swing in the drawing, or to put 
it in the vernacular of the art student, so that it may "hum" 
with life. It is principally the Japanese so far, that interpret 
nature so delightfully, emphasizing the important things and 
leaving out details that count for nothing in a decorative way. 
Mr. Dow says, "bear in mind: beauty of line, dark and light, 
and color." 
We received some charming sketches of blossoms, leaves 
and stems, but as they did not conform to regulations govern- 
ing the disposition of prizes they were not passed upon. 
It is rather hard to break away from what is generally 
understood to be the right way of interpreting nature, but 
with the study of decorative principles it will be much more 
of a delight to work, knowing what to eliminate and what to 
bring forward in a decoration. 
NOTES FOR STUDENTS VISITING THE METROPOLI- 
TAN MUSEUM 
TO assist those who are studying application of design to 
Keramic forms, as well as technique, we give the follow- 
ing suggestions, referring not to the history of the porce- 
lains, but to their artistic characteristics. We will reserve the 
Garland (now the Morgan) collection of Chinese porcelains for 
another article. 
Beginning with the lowest numbers, which mark the 
Persian collection, we refer you to the following, which are 
all plainly marked and easy to see and read. 
No. 10 is a study in combination of blues — note the grey 
tone of the lightest blue 
No. 21 shows a graceful arrangement of the carnation and 
nice distribution of blossoms; good color scheme of green 
blues, dark purple blues, dull reddish brown and green. 
No. 22. Plateof lustrousglaze. Good borderand color effect 
No. 28. Beautiful tile, good in design and combination 
of dark blue, green blues, and cream color. 
No. 15. Rhodian plate. Extremely good arrangement 
for long stem flower to be used in center of plate, very fine 
distribution of dark and light. 
No. 78. Hispano Moresque — very fine color scheme for 
lustres. 
No. 109. Octagonal cup, Imari. Good treatment of panels. 
No. 115. Incense jar — Satsuma. Beautiful panel in red 
with blue, white and gold decoration — note shade of blue enamel. 
No. 149. Japanese. Brown and white bowl, simple dec- 
oration for underglaze. 
No. 247. Teapot. Japanese. Note the simplicity and 
excellent arrangement of flower, stem and leaf. 
