RERAMIC STUDIO 
193 
polish over all is given by dusting all over with one color in which PearlGrey 
predominates or with'a specially prepared glaze like Ivory glaze, Azure glaze, 
etc., Any of these glazes can be used over any colors except that Ivory glaze 
is liable to destroy Iron Reds, such as Pompadour, Blood Red, Carnation, 
Orange Red, etc. Ruby lustre or Covering for gold give a reddish tone over 
gold; dark green also is good over gold. See articles on' Lustres in "Class 
Room" Keramic Studio, which also explain how to line cups with lustre. 
TAXILE DOAT 
(Concluded from page 172) 
and melting snowflakes, although, unhappily, their beauty 
can not be described in words. 
The cup-shaped vases previously admired for their 
forms, must again be praised for their polychrome decora- 
tion, and, above all, for a superb pate-sur-pate treatment 
which can come only from the hands of such supreme 
masters of the ceramic art as Solon and Doat. 
In passing in review these cameo pieces, each one seems 
especially attractive by reason of its distinctive subject, 
color-combinations, and surface-effects; but the master- 
piece among them, as acknowledged by M. Doat himself, 
is the sevenfold vase, simulating reed-pipes and known 
as "The Flute of Pan." From the reproduction we can 
judge of the almost microscopic delicacy of the cameos, 
and the admirably devised reed motif which binds together 
the separate pipes; but we are left to imagine the quiet 
color-harmony made by the body of the flute with its sup- 
porting branches of pine leaves and cones. 
Perfection of the kind and degree incorporated in this 
vase is the direct outcome of the traditions of the Sevres 
factory. Enough of the old exists in the work to assert its 
ancestry, as the classic subject, forms, and emblems amply 
testify. Enough of the new vitalizes the work to witness 
that its parents were the brain and the hand of a thoroughly 
modern ceramist. Therefore, as the artistic conditions of a 
period may be judged by the highest attainments of that 
period, French ceramic art need not fear an approaching 
decline. Nor has it to apprehend harm resulting from the 
rapid progress made by the same art in Denmark. Distinc- 
tions between races are sharp. They can not be obliterated 
even by the free intercourse now everywhere established 
between nation and nation. Frenchmen keenly appre- 
ciate the beautiful; they have logical minds, and a longing 
after perfection that is not easily silenced. The Republic 
has thus far fostered the arts with the same care and en- 
thusiasm as was earlier done by the monarchical govern- 
ments. Finally, French art now stands free from any 
fault dependent upon chauvinisme. It recognizes the genius 
of other peoples. But it is to be hoped that it will remain 
faithful to its own great past; that it will renew and re- 
juvenate itself, but never seek to change its historical 
spirit. 
Magill CgL Ivory 
Importers aud Dealers in 
WHITE CHINA AND ARTIST MATERIALS 
A premium given with all orders amounting to ten 
dollars and upwards. Write for list and catalogue. 
Classes in decorating four days every week. Estimates 
on large or small orders. China fired with oare. 
297 5tK Avenue, New YorK City 
Gold on Pouyat China. 
"All that glitters is not gold," is an old adage which 
does not apply to gold employed in the decoration of china, 
for all gold mixtures, whether they be "bright" or "burn- 
ish," must be developed by fire and therefore of necessity 
must be produced from pure gold as a basis, no matter how 
far they may be extended by the admixture of oils or es- 
sences. 
Much of the success in perfect and permanent gilding 
depends upon the nature and quality of the glaze to which 
it is applied. If the glaze is not receptive in its action 
under fire, or is lacking in perfect uniformity of texture, 
"burnish" gold is very apt to appear "milky" in streaks 
when it comes from the kiln. 
This is especially true in cases where the amateur deco- 
rator attempts the risky method of "spinning out" a modicum 
of gold by putting in too much fat oil and turpentine. When 
gold thus thinned out strikes a spot or edge in the glaze 
that is dry or "starved," as the professional terms it, the 
result is a thin milky deposit which will not burnish. As 
this involves re-gilding and another firing, it becomes a 
heart-breaking operation to the amateur, as many of them 
will testify. 
Under the same conditions, "bright" gold will turn a 
purple hue which is in reality an elementary purple lustre. 
As previously stated the glaze to which gold is applied 
has much to do with the result and the amateur decorator 
should give as much consideration to this important factor 
as to any other requirement of the art. 
f In this respect the glaze of Pouyat Ghina presents a 
perfect surface for the reception of gold and every form of 
gilding properly applied to Pouyat China is certain to de- 
velop under fire into a rich, full rounded line, band or scroll. 
Years of patient study and experiment have brought the 
glaze on Pouyat China to a degree of perfection that makes 
for the highest satisfaction in gilding. There is an in- 
describable texture in the Pouyat glaze that gives a firm 
foundation for gold and color, and the method of selecting 
the white china for amateur decorators leaves nothing to 
be desired as a uniformly satisfactory porcelain for dis- 
criminating amateurs. 
Paroutaud & Watson, 37-39 Murray Street, New York. 
FINE FRENCH WHITE CHINA 
FOR AMATEUR DECORATING 
Best White China Made in Limoges 
PAROUTAUD FRERES, Manufacturers 
Catalogue and price list on application. 
Ceramic Importing Co. 
37-39 Murray St., NEW YORK. 
STOCK AND IMPORT SOLE AGENTS 
WE WILL SAVE YOU 1-4 TO 1-3 ON YOUR WHITE CHINA. 
We handle only the first qualities of German and French wares. We have no 
expensive establishment to keep up. No high pricedlrentj tojipay. You get the 
benefit of these savings. Send for our price list. 
113 N. Center St., CORRY, PA. 
B. W. STENNETT CSL SON, 
