KXRAMIC STUDIO 
269 
make it entirely soft, then thin with Oil of Lavender (the 
cheaper kind.) If this mixture spread, breathe on it several 
times. 
A preparation in tubes purchased from Sartorius, needing 
only turpentine to thin it, has been successfully used by the 
writer. 
With this color scheme the jewels may be of a delicate 
blue, using a little of the same tint that is in the bands, to 
color the white enamel. Another color scheme of the rose 
treatment may be in green and gold, the bands in green and 
the roses in raised gold with the jewel scroll represented in 
green ; or the space above the roses may be in green coming 
down to the jeweled scroll. 
To use the design in simple masses or washes, use two 
shades of blue, which shouldjae of a greyish tone. Delft 
Blue (La Croix) will give a satisfactory result, or a dark blue 
obtained by mixing Dark Blue (La Croix), a touch of Ruby 
Purple (German) and a little Brunswick Black, adding to this 
about one-eighth Aufsetzweis and a little Flux. Another 
treatment of the scroll in masses may be carried out in gold, 
either edged in raised paste or a flat line. 
The writer would suggest taking a tracing from this 
design (or any design in the Keramic Studio) with a fine 
pen and India ink and then coloring it with water color (use 
the architect's tracing paper) the result will more than repay 
as the effect of color and the dark and light spaces can be 
seen at once. Then a change in the color scheme may 
be made to suit the individual taste. This suggestion will be 
particularly useful to teachers, who may collect these tracings 
and use them for class work. 
4. Spinning up. 
CLAY IN THE STUDIO 
(Sixth Paper.) 
Charles F. Binns 
U I WENT down to the potter's house," says the prophet 
1 Jeremiah, "and behold he wrought his work on the 
wheels." A potter without a wheel seems like a man without 
a wife- — incomplete. The idea of the wheel has been for ages 
so inseparably connected with the potter's work that it seems 
impossible to divorce them now. And why should they be 
divorced? If it suited the Divine purpose to have the potter 
with his wheel and clay typify creative and controlling power 
why should we seek a change? " The wheel," say some, " is 
a machine and machine-made work is abominable." We ad- 
mit the latter statement but not the former. Machine-made 
work is bad, but the wheel /><?r se is no machine. Let us take 
an analogy. There is a wave of enthusiasm just now (may 
it constantly increase) for hand-made furniture, but does the 
designer insist that it shall be built of rough logs or whittled 
with a jack-knife? No, the skilled workman uses plane and 
chisel and even the lathe, but his work is" hand-made." The 
marks of the rotary planing machine on wood are abominable, 
but the work of the hand guided tool is true. 
In this respect the potter, if he leaves his work with the 
wheel finish, is even less a user of machines than the carpenter. 
But may not the defence of the wheel be left with the 
results? If the wheel enables the artist to produce work 
which would otherwise be impossible, work which is at once 
true and pure and self-expressive, surely this is its justification. 
Now as to the wheel in the studio. Is it practicable? Is 
