Vol. IV, No. U 
NEW YORK AND SYRACUSE 
March 1903 
E have lately heard the well worn sentiment 
"there is nothing new under the sun" 
used to deprecate any claim to originality 
among our decorators. It is remarkable 
what flat things some would-be clever 
persons can say. There was no greater borrower, or thief, to 
speak plainly, than William Shakespeare, yet no one will 
deny that his are among the greatest works in literature. 
The great artist, and original as we understand the word 
nowadays, is he who can flit like the bee from flower to flower, 
sipping honey here and dew there, and of it make an ambro- 
sial draught fit for the gods, yet having nothing original in the 
elements — it is the individuality of the combination that counts. 
4° 
Judging from those who visit the New York Studios, there 
is a great demand for newer and more advanced ideas in design. 
However, ninety per cent of those who inquire have an errone- 
ous conception of conventional design, thinking it all historic 
ornament. Perhaps the KERAMIC STUDIO may be somewhat 
responsible, as we began our instruction with a series of articles 
and illustrations bearing upon historic ornament, running 
through the first and part of the second year; but these were 
given not as the only way to decorate, but as a means of 
study to assist in reaching an understanding of the construc- 
tion of design. Some there are who design for us, who have 
a taste in arranging abstract and beautiful forms, with no 
reference to nature ; they are successful in this line and 
perhaps would fail in making an attractive design inspired 
by any of nature's forms. 
Then we have those who are more successful in designs 
made from floral or other forms. 
It would be an immense help to students if they would 
send for books of design issued by Matsuki, showing how the 
Japanese use every article imaginable for designs, flowers, 
birds, animals, rivers, brooks and trees. 
We saw designs made of chairs and locks and keys, not 
particularly attractive but showing fine principles. While 
these may not be copied, yet they give an insight into 
the construction and principles of design, and show very 
plainly what the best educators in decoration are trying to do 
to-day, and what the KERAMIC Studio is upholding. 
We noticed some pieces of china sent back to New York 
from an exhibition without a single mark for identification. 
Common sense and consideration for those in charge should 
dictate the proper and only businesslike means of identifica- 
tion by labels on back, instead of trusting to the committee in 
charge to remember or to look up each piece. 
1? & 
DESIGN COMPETITION 
FOR the benefit of our subscribers who have not quite under- 
stood the conditions of the coming competition we re- 
capitulate as follows: 
Best original naturalistic study of fish and sea weed, birds 
or wild flowers, executed in color, on china panel or in water 
color, study to be about 9x12, $25.00. 
Best original naturalistic study in black and white of one 
of the above subjects, $10.00. 
Best conventional study of one of the above subjects exe- 
cuted in color on china panel or in water color, accompanied 
by pen and ink drawing of the entire form and its separate 
parts, $25.00. 
None of the above studies are to be adapted to a china 
form. 
Best conventional design in black and white made from 
one of the above subjects, accompanied by color scheme and 
drawing of the original motif, the one motif adapted to four 
forms, plate, cup and saucer, tall piece and low dish, $25.00. 
Second best, $15.00. 
Third best, $10.00. 
Color treatment must be sent with each study or design. 
For conventional studies use two to five colors. Designs 
must be received on or before March 15th, naturalistic studies 
on or before April 1st, marked with fictitious name or sign, 
same name or sign to be on envelope enclosing name and 
address of designer. Other designs submitted will be con- 
sidered for purchase. 
No one is excluded from the competition, subscriber or 
non subscriber, American or foreigner. 
LECTURES ON CRAFTS 
A COURSE of six lectures will be given on Saturday after- 
noons during February and March, under the auspices 
of the "Guild of Arts and Crafts of New York," at the Guild 
House, 109 East Twenty-third street. The lectures will be 
on craft subjects. 
The lecturer on the first Saturday was Mrs. Osborne 
Macdaniel, whose subject was " Reminiscences of Brook 
Farm." The succeeding lecture was on February the four- 
teenth on "Book Binding," by Emily Preston, pupil of Cob- 
den-Sanderson. The lecture on February the twenty first was 
on " Metal Work,', by Amalie Busch Deady of the Busch 
Studio. February the twenty-eighth " Basketry " by Mary 
White of the Guild. March the seventh will be a lecture on 
" Stained Glass," by Clara Wolcott Driscoll from the Tiffany 
Studios. March the Fourteenth "The Influence of Craft 
Work," by Amy Mali Hicks of the Guild. The lectures be- 
gin at three o'clock in the afternoon. 
THE SEVRES VASE ON VIEW 
ON exhibition at Tiffany's is a massive porcelain vase, the 
gift of the French government to the Society of the Cin- 
cinnati, as a token of appreciation of the courtesies extended to 
the Rochambeau mission on its recent visit to this country. The 
vase was the chef d'ceuvre of the Sevres Museum and is now 
known as " the Sevres Vase." It stands four feet three inches 
high and weighs about 100 pounds. It is of a long oviform 
