8 4 
KERAMIC STUDIO 
Plate of fine porcelain. Blue line on the edge. Conventionalized decoration on 
the rim is marked off by two blue lines inside. In the center the Eight Immortals 
appear upon mythical beasts, each carrying appropriate emblems. This plate is a 
crude replica of a famous old one. 
at once, when handling a specimen, look to see the nature of 
the paste, the method of applying color, whether under or 
over the glaze, and the tint of the glaze itself. Then, pro- 
ceeding to analyze the pattern, he will note that the same 
figures, animals, flowers, frets, etc., appear again and again, 
and after a while he recognizes the emblems of Buddhism, and 
the eight immortals of Taoist fame, the precious objects 
used by scholars, and different things symbolic of rank and 
position, whether military or official. Upon blue and white 
porcelains we find there are better illustrations of the thought 
life of China, than appear in the polychrome decoration, and 
this is the chief reason for advocating the study of blue and 
white, before attempting even to enumerate the varying 
shades of mazarin, sapphire, peacock, and robin's egg blue. 
We find it possible, in "blue and white," because of in- 
terpretive patterns, to classify with accuracy, and to dis- 
tinguish between forms ; those made for temple use being 
somewhat different from articles used for food, and objects 
for ornament showing still greater variety. 
There are definite styles in Chinese ornament, and the 
simplest division groups under "Archaic," " Naturalistic" and 
"Conventional" — designs which are more truly absolute than 
the historic ornament of any other country. 
A RARE PIECE OF AMERICAN POTTERY 
Edwin A. Barber 
RALPH Bagnall Beech operated a pottery in the neigh- 
borhood of Beech and Poplar streets, Kensington, 
Philadelphia, previous to the year 1846. He made common 
pottery and, later, what were considered fine vases for that 
period. Mr. Beech took out several patents for the decor- 
ation of earthenware. It is said that he came from the 
Wedgwood works at Etruria, England. About the year 1853 
he went on a trip to the South, where he died of yellow fever. 
His works remained idle for several years and were finally 
taken by Philip Newkumet for the manufacture of fire brick. 
Mr. George Allen, who is still living in Philadelphia, pur- 
chased some of the fixtures and appliances from Beech's 
widow and started a white ware pottery in the vicinity in the 
year 1859. 
Kang-he va.se in the South Kensington 
Museum, decorated with the Taoist Im- 
mortals standing upon the clouds. 
Landscape design on Kang-he blue and 
white porcelain vase. Neck decorated 
with fret and dots. Bats on shoulder. 
A most interesting example of Beech's best work has 
recently been procured by the Pennsylvania Museum, Phila- 
delphia. It is a tall six-sided vase of white pottery, entirely 
covered with a black ground. On the front panel is a full- 
length figure of Stephen Girard in white, surrounded by a 
heavy frame work of gold and surmounted by a gilded eagle. 
The decoration has the appearance of having been painted in 
oil directly on the biscuit, as the surface is entirely devoid of 
glazing. The effect is similar to that produced by a coating 
of lacquer. On the bottom of the vase is this impressed 
mark, — " Ralph B. Beech, Patented June 3, 185 1, Kensington, 
Pa" In the U. S. Patent Office Report, for the year indi- 
cated the following record is found : 
Patent No. 8140. " Improvement in Ornamenting 
Baked Earthenware." 
" I do not intend herein to claim the general application 
of Oil Painting to China or Earthenware ; but what I do 
claim as my invention, and desire to secure by letters patent, is 
" First. The application of coloring water mixed with 
varnish, or its equivalent, to the surface of baked earthen- 
ware, for the purpose of giving to such ware a surface of 
sufficient body, and of sufficient brilliancy for ornamental 
