210 
KERAMIC STUDIO 
counting the lines opposite each other we have always nine, so 
that there are three or four sets of nines, each in turn made ten 
by adding the central unit. Chinese dinner tables are set at 
times with reference to these combinations, and dishes made 
to fit around a central dish. It is in fact astonishing to find 
that so many objects trace their origin to the "Pa-Kwa," and 
beside ceremonial pottery, we have ornamental and ordinary 
articles without limit. 
setly arranged. 
CEMENT FOR CHINA 
A solution of gum arabic, with enough plaster of paris 
stirred in to make a soft paste. This is quite colourless, and 
holds excellently. For very delicate china, some people tie 
the pieces carefully in place with tapes, stand in a saucepan 
of cold milk, and very slowly heat to boiling point, and then 
move the saucepan back from the fire, and let the china stay 
in for about five minutes; after which it is carefully lifted out 
and placed on a shelf till dry. 
ANSWERS TO CORRESPONDENTS. 
This column is only for subscribers whose names appear upon our list. Please 
do not send stamped envelopes for reply. The editors can answer questions only 
in this column. 
All questions to he answered in the Magazine must be received before the 10th 
day of the month preceding issue. 
M. 0.— Your requests came too late for the December Keramic Stu- 
dio, If yon read carefully the directions for painting any of our flower 
stndies you will know all there is to know of how so-called Rookwood 
effects are gained in over-glaze decoration. We hope later to give reliable 
instructions for decorating under the glaze, i, e., on the biscuit before the 
glaze is put on, but it will be impossible for ns to do as you suggest "will 
make Keramic Studio worth subscribing to," that is, tell you how the 
Rookwood decorators get their effects. That is their secret and th<w will 
not give away their business. The term "Rookwood effects" is very 
vague at present, it is usually applied to their original style of decorating 
in browns and yellows, but their later work is so entirely different, that 
the old term would be misleading. See article on Rookwood in Keramic 
Studio, Nov., 1901. 
The decoration on any piece should be massed on the heaviest part, or 
the swell of the form. You can suit yourself as to the decoration of the 
inside of a stein, usually it is left plain or has a band or border decora- 
tion, gold rims are used onlv when there is gold in the outside decoration. 
This is not often the case. You will find cuts of the latest card receivers 
in all the china dealers' catalogues. We do not know of any shape as 
being especially in vogue. 
M. L. E. — Both lustres and dull effects are freely used at present in 
decoration. 
F. T. — The back grounds of flower paintings are usiially worked in 
with the flowers to keep the whole soft. See the treatments of colored 
supplements. We use inclia ink for sketching designs, it will always fire 
out if the painting is properly fired. There are also pencils which come 
expressly for drawing on china. You can procure them from any dealer. 
K. — China can not be fired in a gas stove. 
SUGGESTIONS FOR MEDIAEVAL BORDER 
DESIGNS 
Frank S. Browne 
THESE designs are most effective carried out in 
gold and flat enamels outlined in gold or color. 
For the conventionalized rooster we would suggest 
a gold border and a cream center. The bird in flat 
green enamel with scarlet enamel tail feathers and 
head, and feet in orange enamel — outline black. 
The scroll design might be in turquoise enamel on 
a dark blue and green ground, centre white or pale 
green, outlines gold, the alternate small ornament 
might be in apple green enamel. 
The third design might have a back ground of 
gold, edge of yellow brown lustre, scroll of green 
enamel and flowers violet with white or blue enamel 
dots center white or cream, outlines in dark red or 
black. 
