190 
RERAMIC STUDIO 
poured through the fine screen or lawn. A good deal of rub- 
bish will be found rejected. Bits of stick, small stones and 
sand, in fact fragments of every kind of impurity are found on 
the screen. The mixture being set aside to thicken, the clear 
water is poured off and the "slip" well stirred and transferred to 
the plaster basin to become clay by the absorption of the water. 
Clay improves with age, and one of the first steps taken 
by an aspiring clay worker should be to provide what old-time 
potters used to call a "clay hole." In the cellar or some other 
cool spot, a corner is selected. In most houses there will not 
be much difficulty in finding a damp corner, but a dry one 
will do, it can easily be dampened. Here a space is cleared 
and lined either with paving brick or slabs of slate, good 
smooth stones are excellent. In this "clay-hole" the batch of 
plastic clay is stored. It may be covered with a damp cloth 
and will be always ready. Sometimes the artist feels like 
making clay, and can indulge without having to enter upon 
vase building or modeling. Sometimes, on the other hand, 
the spirit is moved to create and cannot brook the delay nec- 
essary to prepare material. "A store is no sore," says the 
proverb, and it does not take the clay-worker long to find out 
the truth of it. 
TREATMENT FOR JONQUILS (Supplement) 
F. B. Aulich 
THE Jonquils are like their sisters the Daffodils, a Spring 
flower, blooming as soon as the snow disappears. This 
design is painted best by laying in the background, for which 
use Blue green and Blue violet; Yellow green, Blue green, and 
Black green with a little Lemon yellow for the leaves. 
For the flowers use Lemon yellow and Albert yellow for 
tubes; also mix some Poppy red with the Albert yellow to 
obtain the orange tints for the depth. 
Shade the yellows with grey for white roses with a little 
yellow mixed, and a little Black green for the darkest shades. 
The leaves are very simple, as is the drawing in jonquils, re. 
quiring only a little dash to obtain good results. 
PLATE DESIGN— ANNA B. LEONARD 
THE bands are tinted in turquoise blue, composed of Night 
Green two-thirds, and Deep Blue Green one-third. To 
this mixture add one-sixth flux, as the color is rather hard to 
glaze, which is essential, there being no transparency without 
it, which would utterly destroy the beauty of the plate. 
The little roses are painted in very broadly at first, using 
plain Carmine No. 3 (Lacroix) very thin, just enough to keep 
the masses. It is better to have a few darker roses scattered 
through the garlands; these are painted with Ruby Purple 
(German) and Rose Pompadour (Lacroix), half and half- 
These dark roses are afterwards touched up here and there with 
Ruby Purple (German). The Rose Pompadour is a gold color 
and quite different from that marked merely ■" Pompadour", 
which would not be at all satisfactory mixed with Ruby 
Purple. 
In the leaves use Apple Green (Lacroix) and Mixing 
Yellow (Lacroix), half and half for the first wash, leaving no 
hard nor definite touches, but in retouching use darker tones 
for leaves near the roses, which will form to a large extent the 
character and shape of the petals. Greens that are useful in 
this painting will be Chrome Green 3 B, with Brown Green, 
(both Lacroix), and also touches of Dark Green and Mixing 
Yellow. On the little thorny stems use Deep Red Brown in 
sharp accents here and there, with an occasional touch under 
a leaf or a petal. 
In this style do not have any shadowy effects, as the plate 
will look soiled ; the line of the garland carries the motion of 
the design and it should be clean cut and broad. The scrolls 
may be in flat or raised gold with the enamels in turquoise 
blue, or the enameling may be left out. 
