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KXRAMIC STUDIO 
PANELS— "THE SENSES" BY TO JETTI— TREATMENT BY MRS. L.VANCE PHILLIPS 
Many 'different schemes of color might be effectively 
carried out in painting a single panel from any one of 
the accompanying prints. It is, however, in a complete set 
that the effect will be most pleasing. Three suggestions for 
such use are as follows : (a) Framed panel effect with the 
frame proper and the divisions between the panels either 
black, dark green stained oak, or gold, (b) A cylinder vase, 
(c) A carved jewel box with panels let into the wood from 
the inside, three panels being used in front and one at each 
end. The back finished plainly and the top covered to 
match the design used in carving the wooden panels or 
pilasters separating the porcelains and forming the corners. 
SUGGESTIONS FOR VASE. 
Place the panels, evenly spaced, around a plain cylinder 
vase, leaving more space at the bottom than at the top of the 
vase in order to give to the bottom a greater sense of weight. 
This effect of weight should also be observed in design 
selected and in color or metal used. In the spaces between 
the panel use a style of ornament in harmony or repeat 
some one of the motives selected for the bands used to com- 
plete the decoration at the top and bottom. If designed for 
a drawing-room piece use gold freely with some colored en- 
amels that repeat or pleasantly contrast with the color scheme 
of the panels, or, electing to paint the figures against a gold 
ground, use rich green, ruby or turquoise blue as a predomi- 
nant color with gold over paste in portions of the ornament. 
The gold, thus used, will repeat the background, yet, being 
raised, will come forward and suggest a frame by appearing 
on a different plane. 
COLOR SCHEME SUITED TO ANY USE. 
Paint the flesh tones in after a method with which you 
are familiar, varying them from the usual palette only in 
deference to some general color scheme. For instance, if 
blues prevail use more blue than usual in painting the flesh — 
that is, see more delicate general shadows in which coolness is 
admissible. If violet shadows are employed extensively in 
the drapery effects, some of the same tones must be found in 
the shadows of the flesh, in the half tones of the light hair 
and in the high lights of the dark hair. 
The draperies may be treated in white, pearly gray, and 
violet, with the background a soft yellowish tint in the center, 
going gradually into grey violet at the top and bottom — 
painted loosely and broken up with brush strokes rather than 
perfectly smooth. 
Pink may take the place of violet in the drapery effects 
if crimson or turquoise are to be used in the ornamental 
finish of the vase, while if green is selected violet will be an 
agreeable contrast. Where the violet key note is to be ob- 
served, see that violet enters into the shadows of all the colors. 
A charming harmony in violet can be obtained by con- 
sidering that violet is red and blue combined. Red is warm 
and attractive, blue is cool and retiring. For the central 
figure select the more attractive color, red. Red attenuated 
is pink — an this case the most desirable shade (use blood red 
thin) for the lights in the scarf drapery of central figure. 
Violet (Royal purple and a little blue) in the half tones, red- 
violet (royal purple and blood red) for the deepest shadows. 
The clinging drapery will seem white if the shadows are gray- 
violet (royal and carnation) with red-violet in the few deepest 
accents — the same color that is used in the scarf drapery, but 
applied less strong. This repeating of shadow tones gives 
harmony while the lights being white and pink suggest that 
the fabrics are white and pink. 
