Vol. VIII, No. 6 
SYRACUSE, NEW YORK 
October, 1906 
HE present number of Keramic 
Studio is chiefly edited by Miss 
Mabel Dibble of Chicago." This 
is the second of our series of ' ' Per- 
sonally conducted tours" of the 
studios of the most prominent 
decorators; and we feel sure our 
company will enjoy the trip. 
Do not forget that the Christmas competition closes 
October ist. See back of cover. 
We are in receipt of some very interesting little relics 
of the San Francisco fire and earthquake. They resem- 
ble very much in color and texture the celebrated Massier 
lustres, being rather rough and crackled with much irrides- 
cence. The following extract from a letter explains the 
circumstances of their finding : 
' ' These little jars are part of a crate that were buried in 
the brick and ashes for sixty-three days and were still hot 
when taken out. Originally they were green, the common 
ware of Japan imported by my brother for cold cream jars 
in his drug store. The crates had not been unpacked, and 
the jars were wrapped in straw, just as they arrived from 
Japan. They were on the ground floor of a seven-story 
brick building and buried in several feet of brick and debris. 
When taken out, in some cases the straw that had encased 
them was in ashes but still in shape. They have burned in 
most curious colors, and yet they were packed in a space 
of about 4x6 feet. Very few are alike. In some the glaze 
is completely gone and others are red or copper. If one 
could know the proper fire beautiful effects could be had in 
the large green wares to be had in the Japanese stores. 
There were no chemicals in the building near them, only 
cottons and surgical goods. Adella E- Dugan." 
STUDIO NOTE 
The Misses Mason have returned from a delightful four 
months' holiday in Europe. Miss Mason writes": ' ' We are 
bubbling over with enthusiasm over what we have seen and 
wish to do ourselves." They spent some time with Mr. 
Snell's class at St. Briac in Brittany, Miss Maud Mason, 
having studied with Mr. Snell several years. 
LEAGUE NOTES 
Our facts from the dandelion, poppy and daisy are here. 
Some of them clever [and intelligent, others vague 
and incoherent, perhaps because our directions were not 
clearly enough defined. Let us, therefore, try again. In- 
stead of a flower we will take an oak tree. We would not 
say its bark is white, and that it splits and peals around the 
trunk showing a rich yellow color, under which is still an- 
other layer of beautiful yellow brown ; because w T e would be 
giving a description of a birch tree trunk ; nor that the 
branches high on its trunk are symmetrical and regular, 
spreading out like a fan and drooping gracefully; as that is 
characteristic of the elm. We would not give it whip-like 
twigs with tapering yellow green leaves that wave gently 
in the breeze, for such is distinctive of the willow We would 
say of the oak that its roots reach down from the base of its 
trunk in a tragential line, not creeping along near the sur- 
face nor perpendicularly from the trunk. That its trunk 
is gnarled, rough, and rugged, with deep incisions; often 
leaning away from its natural line of growth, exposing roots 
bleached to whiteness. Its branches growing out and up 
at the same angle that the roots grow out and down, warped 
and twisted, one dead and bare extending beyond the 
foliage, others wrenched from the trunk by the winds; all 
telling a story of conflict with the elements, which has won 
for it the name ' ' King of the Forest. ' ' The leaf at first 
salmon pink in color, with the softness and bloom of velvet, 
later develops into a dark glossy green on top, and silvery 
white reflection underneath, lobed and about the size of a 
woman's hand. Thickly massed, the leaves show purples, 
almost black in their intensity, while those still clinging to 
the tree in spring are a rich golden brown. As each tree 
has its individuality, so has each flower, and our educational 
committee has been wise in selecting this line of study. 
We need a perfect flower, from which we must get a correct 
interpretation or we will injure our cause and impose upon 
the public. 
The problem for October is an outline drawing of a sugar 
bowl. Please send as before to Belle B. Vesey, 6228 Wabash 
avenue, Chicago, as early in the month as possible. 
THE CLASS ROOM -THE ART OF TEACHING. 
Special First Prize — Anne Seymour Mundy, Coudersport, Pa. 
Before starting a beginner it is well to have a thorough 
understanding between pupil and teacher, to establish mu- 
tual confidence; and find out the motive which has led to 
the desire for lessons; and then, consider yourself fortunate 
if the result anticipated be knowledge rather than china. 
But whether it be ability to work independently or a desire 
to possess beautiful china, appreciate each pupil as a rare 
privilege, from whom you may learn more yourself than you 
can possibly impart. That is to say, if you would be sure 
of your own knowledge, try to tell some one else and you 
may find that you have a hazy idea of the subject, but not 
a solid rock of accurate information. To recognize your own 
weak points gives opportunity to strengthen your own 
foundation. Hence, practical knowledge is better than 
theory. 
ONE PUPIL VS. A CLASS. 
To get a thorough and practical course in teaching your- ■ 
self have a class rather than private pupils. One pupil 
strengthens another and you can inspire more enthusiasm 
among students when each has an opportunity to see the 
other at work and profit by the mistakes or successes of 
others. Some teachers take no more than three or four 
pupils in a class, but while it is harder on the teacher it is 
possible to do good and successful work with a much larger 
class at less individual expense, provided the work is planned 
