RERAMIC STUDIO 
231 
of the famous old English designs, and should be studied as 
such. 
The following important motifs in the historic ornament 
of China, have been traced directly from objects, and as they 
have been copied in both Caughley and Worcester patterns, 
as well as in Spode and Copeland designs, familiarity with 
them is desirable : 
* r *'*'*»»' 
1. The Petal. 
2. The Trellis. 
3. The Scale. 
4. The Y-work. 
5. The Fish*roe. 
6. The Diamond. 
7. The Curl. 
8. The Network. 
9. The Sceptre head. 
The Chinese custom of outlining "reserves" with signifi- 
cant forms, such as the butterfly, sceptre-head, flag-leaf, etc., 
giving most conventional treatment of the ornament, sug- 
gested the use of these objects to engravers in Europe, who 
without knowledge of methods of conventionalization, often 
changed the forms making them in some cases absolutely 
realistic and natural. As for example the butterfly in border 
No. 1, and in border No. 2, we note the addition of flowers 
and leaf scrolls, -which indicate European interpretation of 
design. 
These small differences are immensly important, and fur- 
nish means of determining the age and ancestry of specimens. 
/ 
The design in the outside border of the rim decoration in 
genuine old Caughley willow ware, is a correct adaptation of 
the Chinese "fish-roe" pattern, a series of blue circles touch- 
ing each other, a blue spot in the center of each circle, the 
circles themselves confined within two blue limiting lines. As 
a variant of this, on some of the late copies of the " Willow 
pattern," we find the same general effect produced in a way 
which differs entirely from the Oriental. 
These outside borders are upon some of the English plates 
carried around in an unbroken circle, while upon others with 
indented edges, the border follows the shape of the plate. 
In most of the old wood cuts made before photographic 
processes were so highly developed as they are at the present 
time, the indented rim plate was reproduced, and copied by 
one writer and another for illustration. This has led to a 
Blue and white Canton dish, with landscape design 
antedating the Willow pattern. 
popular belief that the original pattern was applied only to 
such shaped pieces. This is not likely to have been the case, 
as in the earliest records of the Caughley factory it is stated 
that "Turner used the popular Willow pattern upon dinner 
sets most acceptably," and possessors of marked specimens, 
show Caughley ware with both the plain and indented edges. 
4? -f 
PYROGRAPHY 
-e, 1010 Chapel 
All designs for Pyrography should be sent to Miss K. Lit' 
St., New Haven, Ct., who has charge of this department 
quiries in the Magazine. 
LEAF BORDER, DESIGN TREATMENT (232) 
K. Liver more 
THESE designs are suitable for the outside of bowls, boxes, 
&c, they require very simple treatment — simply outlin- 
ing them in a free strong manner, making each line with one 
sweep of the point where it is possible to do so. 
Any desired background may be used, either those sug- 
gested, or others. A perfectly flat, even ground looks well. 
Color the leaves alternately light and dark green, using 
Olive Green water color for the dark ones and a mixture of 
Hooker's Green and Gamboge for the light ones, keeping 
them a very yellow, "spring green" tone. 
000 
DESIGN TREATMENT FOR INSIDE OF BOWL (233) 
K. Liver more 
THE outlines and background of this design should be 
burned and then waxed and polished before any color- 
ing is done, as oil colors are to be used, and these will all rub 
together if wax is used, unless shellac is applied first, and the 
shellac is to be avoided when ever possible as it changes the 
color. 
Paint the flowers and leaves in their natural colors, keep- 
ing the color thin, like a stain. 
This design may be used for the inside of the bowl and 
either the first or last leaf border on page 232 used on the 
outside. 
** ** 
There are pretty little cups and saucers, with flower dec- 
orations, in Swedish ware. 
