KERAMIC STUDIO 
131 
MORNING GLORY STUDY 
Alice Seymour 
FOR prominent flowers use Aulich's Rose very delicately, 
crisp dark touches, American Beauty; dark flowers Crim- 
son Purple; shadow flowers and leaves Banding Blue and 
Pompadour; prominent leaves and stems Yellow Green with 
little Lemon Yellow shaded with Aulich's Olive Green; back- 
ground Greyish Green with a little clear Lemon Yellow on 
lightest parts. 
CUP AND SAUCER DESIGN 
Anna B. Leonard 
OUTLINE the design in a very rich dark brown, almost 
black (use Pompadour Red and Black). The dark 
petals and the dark spots in the design are very dark blue, 
rather gray in tone, and the center of the flower is alight gray 
blue, with lines crossed in gold. To make the dark blue, use 
Lacroix Dark Blue, with Copenhagen blue. For the lighter 
shade of blue use Deep Blue Green (Lacroix) and Mixing 
Yellow (Lacroix) ; to this add a touch of black, only a very 
little, which will give it a grayer tone, and will not be such a 
vivid turquoise. The stems are in pale green. Use Apple 
Green and Mixing Yellow, half and half, to this add a touch 
of black and also flux. The decorated band at the top and 
around the saucer is the dark blue, the light blue and the 
green with edge of gold. 
This design is attractive carried out in red and gold. 
Stand for Sake Cup, deep dark blue decoration in fret designs. Small center dish of 
" Iniari." Rough box with " Tomoye " design " Owari " porcelain. 
THE COLLECTOR 
THE COLOR BLUE IN POTTERY AND PORCELAIN 
III. JAPANESE PORCELAIN — Continued. 
Mary Churchill Ripley 
History tells us that porcelain was first made in Japan by 
a man who went to China to study the art in the sixteenth 
century. He settled in the Province of Hizen and decorated 
his wares with blue. Since that time a great many factories 
have arisen, so that commercial wares have proceeded from 
that province made after the style introduced from China. 
As the Dutch alone were allowed entrance to Japan through 
the two "silent centuries" so-called, while the port was closed 
to the outside world (from the middle of the 17th to the 
middle of the 19th centuries), and as their trading post was in 
the harbor of Nagaski, on a small island, Decima by name, 
the "Hizen" wares made for export during that period bore 
varying names as has been stated, but the one word " Hizen" 
covers all the others, and in Europe we hear collectors speak 
of their "Old Hizen" oftener than we do here. Within the 
wide limits of so broad a classification, we find it necessary to 
seek some main features for identification of wares. Two 
names, "Nabeshima" and " Hirado," have become synony- 
mous with fine quality old "Hizen" or "Imari" ware. For 
two princes these wares were produced in the 18th century. 
Private sale was not allowed during the period of early manu- 
facture of articles made for private use of the princes, but in 
Arita at the present time are to be obtained reproductions of 
shapes and patterns once made for private use. The disting- 
uishing mark on old "Nabeshima" was called "Kushite" and 
it decorates in blue design upon white porcelain the stands 
and bases of bowls and dishes, with a pattern resembling the 
teeth of a comb. A rival prince in the neighborhood of Hirado 
established kilns where the famous porcelains which bear the 
name of the place were made and decorated in blue with the 
famous design so well known to collectors as " Boys under 
Pine Tree." When the objects were perfect in every way they 
were decorated with seven (7) boys; when less perfect with 
five (5) boys, and with three (3) when even less satisfactory. 
The breaking up of the old government in the middle of 
the last century did away with many of the old regime 
methods, and the beautiful pieces made by one prince for 
another, or as gift to Emperor or Shogun, were many of them 
sold, and since then have found their way into private collec- 
tions. Many speak of both "Nabeshima" and "Hirado" 
wares as " Old Imari," but by common consent that name is 
generally supposed to be applied to the Blue, Red and Gold 
wares, known as " Old Japan " to English potters, when first 
porcelains were carried to Europe from Japan. Spode and 
many famous potters in England tried to copy " Old Imari," 
and succeeded too, most creditably, in making beautiful wares 
skilfully decorated, though utterly unlike oriental objects that 
had served as inspiration. The color blue varies on " Nabe- 
