KERAMIC STUDIO 
241 
ONONDAGA 
PORCELAIN 
PLATES 
DESIGNED BY 
MRS. ROBINEAU 
AMERICAN CERAMIC SOCIETY 
THE American Ceramic Society held its annual meeting at 
Boston on the 2d, 3d and 4th days of February. The 
convention was well attended and a number of interesting 
lectures were the main features of each meeting. Although 
most of these lectures were of a technical and scientific nature 
and of more interest to manufacturers than to artists, it goes 
without saying that those of our readers who are experimenting 
on pottery work would glean many valuable data from the 
report of the convention which will be published later on by 
the American Ceramic Society. 
It may be of interest to subscribers of KERAMic STUDIO 
to know that a pottery school has been established at Rutgers 
College, New Brunswick, N. J. The establishment of this 
school for which an appropriation was voted by the Legislature 
of the State, was the subject of one of the lectures. The 
regular course is four years during which students will receive 
a complete theoretical and practical instruction on pottery 
work of all kind, of course more in the line of factory than- 
artistic work. A shorter course can be selected by people who 
have already some practical knowledge and wish to receive 
the scientific training which is often too much neglected by 
practical potters. 
An extremely valuable paper for students who are experi- 
menting on artistic lines was a paper by Prof. Binns of Alfred 
University, on matt glazes. This subject will evidently be 
touched by Mr. Binns in his articles for Keramic Studio, as 
we are all looking for these beautiful matt effects, so much 
more attractive and satisfactory than the too shiny glazes. 
Mr. Binns showed on little tiles the results of different experi- 
ments in which the composition of the. glaze was somewhat 
varied but consisted mostly of lead and lime and in some cases 
an addition of potash, zinc or barium. The matt effect was 
produced with more or less satisfactory results according to 
mixtures by the addition to the glaze of a certain proportion of 
alumina, the proportion of about 35 per cent, proving to be 
in almost every case the best. In too small quantities alumina 
gives a bright glaze, in too heavy quantities a dead glaze, or 
rather no glaze at all. Between these two extremes a mixture 
may be found by experimentation, which will probably vary 
much with the body used, but may give a beautiful silky, 
glove finish glaze. All the tests of Mr. Binns were fired at 
cone 01. 
The Society announced the award of the prize in the com- 
petition for the design of the Society seal. The two volumes 
of Seger's works recently translated were the prize. It was 
awarded to Mr. R. Guastobino, Jr., of New York. A first 
mention was given to Leon Volkmar of Corona, and a second 
mention to Olive Sherman of Alfred. 
•f -f 
BOWL— PERSIAN ORNAMENT 
Ethel Pearce Clements 
THE base of the bowl is a rich cream color, the prevailng 
tone of the border is a dull red. The design is to be 
carried out in gold, red and cream with a little pale olive 
green and black outlines. The flowers in the ornament may 
have a touch of blue. (Design on page 242.) 
