KERAMIC STUDIO 
261 
produced, being decorated with religious subjects, and 
offering a pleasing effect. We give in 111. No. 22, a repro- 
duction of this fine piece, which, it must be observed, was 
not made according to the process to be explained later, 
as the engraving was done directly on the piece with the 
graver's tool. 
This brief mention is sufficient to emphasize the fact 
that the XVI. century was the most remarkable period 
of the pewter art-industry, as well as to show the impor- 
tance of a movement culminating in a master piece: a 
work of art, which, by its artistic and technical qualities, 
surpasses all others of its kind. This is the ewer and 
basin: "Temperance," by Francois Briot, whose name, 
engraved on the facades of our monuments, has not been 
forgotten after 400 years. 
[to be continued] 
We regret that lack of room has prevented us from giving in every 
number part of the series of articles on pewter by M. Jules Brateau. In 
our April number the work of Francois Briot, the famous pewterer of the 
XVI. century will be commented on and illustrated. 
STUDIO NOTES 
Miss Emily F. Peacock has returned from Europe and 
resumed work at her vStudio 232 East 27th St. 
Mr. C. T. Hamann, instructor at Pratt Institute, Brook- 
lyn, will have a class in advanced work in jewelry and carv- 
ing in shell and horn at Miss Peacock's studio, commenc- 
ing the middle of February. 
CLUB NOTE 
The National Society of Craftsmen are holding a re- 
ception and tea every Wednesday at 4 o'clock in their 
galleries at 119 East 19th St. New York City. The Society 
expect to hold an exhibition of craft work the first part of 
April, emphasizing particularly needs for summer homes. 
They are also arranging for a course of lectures to be given 
during the winter; among the first given will be one, on 
the wood block print, by Mr. Arthur Dow. 
ANSWERS TO INQUIRIES 
M. J. C. — Colors prepared for use on leather can be obtained from Mrs. 
B. Van Court Schneider, 102 Auditorium Building, Chicago, 111. Russian 
calf is the best leather for tooling and coloring. A good deal of experimental 
work has to be done in coloring leather, try using the alcohol with the dye. 
T. J. O. — Metal articles to be oxidized must be very thoroughly cleaned 
in hot potash. The simplest oxidizer is made by dissolving potassium sul- 
phide in hot water and using the solution while hot. A piece of potassium 
sulphite, as large as a small nut and about a quart of water will make quite a 
strong solution, it can be made any desired shade by using more or less of 
the potassium. 
M. C. — A tablespoonful of sulphuric acid in about a quart of water is 
the proportion for the pickle for cleansing silver, copper or brass. Mix the 
sulphuric acid and w r ater in a porcelain dish, and keep it hot by placing the 
dish in another vessel filled with water. 
ANSWERS TO CORRESPONDENTS 
J. A. H. — The trouble with your kiln is not due to the new muffle, but 
to the draught. There is something wrong somewhere with the draught. 
otherwise the smoke would go through the chimney instead of coming back 
into the muffle through the top opening. Through the spyholes with mica 
shutters at top of the kiln you should be able to find out why the smoke does 
not go freely from the flues to the chimney. 
Miss J. N. — You can procure molding clay from any dealer in art ma- 
terials. You might write to the Handicraft Co., 255 E. Broadway, X". Y., 
mentioning Keramic Studio. We do not quite understand what you mean 
by "velvet" appearance of Blues for china. Possibly you mean the matt 
colors which give a dull velvet}' finish. Miss Mason's matt colors you will 
find give this effect. See adv. 
M. D. B. — We have not the formula for essence for bright gold nor for 
grounding oil. If we obtain reliable formulas we will publish them. In 
place of essence for bright gold, use oil of lavender, it is much more satisfac- 
tory as it keeps the lustre open longer, so that it may be padded. 
Mrs. A. W. — Dresden Thick oil and Fat oil of turpentine are made by 
evaporating spirits of turpentine. The thick oil is more evaporated than 
the fat oil. Put the spirits in a wide bowl on the back of the stove till suffi- 
ciently thickened. 
X. Y. — If the color on your stein, which came out grey instead of black, 
does not seem too thick already, you might safely paint it over with black 
and dust black powder color into the partly dry padded color. Almost any 
black ought to dust on well but we consider the best black effect is gotten 
by dusting Banding Blue over fired Pompadour Red. There is more color 
in the black. 
E. P. — In decorating a complete dinner set we would prefer at least a 
"family" resemblance all through. At least all pieces to be on the table at 
one time should have the same design and color. A simple narrow border 
for service plates and soups can be elaborated for the main course with 
special designs for special courses, such as game, salad, etc. If the same 
color scheme is continued all through, more latitude might be allowed in 
design. One color for tinting and gold for the design is dainty and effective. 
K. H. C. — The methods of decorating glass are very similar to china 
technique. The gold, enamel, paste and color are applied in the same man- 
ner. The enamels used are the soft enamels, the Roman gold for china is 
about right to use over paste, a special gold for glass will have to be pur- 
chased for the flat work. The Hancock's paste for gold is suitable for glass 
decorating. Special colors for glass must be used. Some lustres come out 
very well on glass, such as the opalescent and yellow r . Try all your lustres 
on broken bits of glass then you will have samples by which to be guided. 
The kiln should be fired to a dark red only. The glass being soft will adhere 
to the enamels, etc., at a much lower temperature than demanded on china. 
Almost any kind of glass can be decorated, but the safest for amateur is the 
Bohemian or Baccarat. 
L. — The direction for painting the roses of Aulich to which you refer in- 
tends that you should use the Black to touch up the Pompadour before firing. 
M. N. A. — Definitions of terms used in drawing. Harmony, i. e., agree- 
ment in line and color, etc., so that the entire design "moves together." 
Balance, i. e., division of space so that the light and dark areas are equiva- 
lent, also so that one part of the design does not have undue prominence. A 
balanced design in its simplest form is one in which the unit is reversed so 
that both sides are identical. Repose: a feeling of restfulness given by sim- 
plicity of line which is balanced so that the idea of motion is completed, i. 
e, a line slanting from left to right is repeated from right to left, thus com- 
pleting the movement. In cases where the lines move in too many directions, 
a restless feeling is given. Where the slanting motion is given from left 
to right or right to left without balance a whirling effect is felt. Up and down 
and horizontal lines are most restful. Oblique lines suggest movement. 
Repose is the effect felt where a design is simple, dignified, few forms and com- 
plete in themselves and little or no movement. Rhythm, is the repetition of a 
unit at regular intervals so as to "mark the beat" as in music. 
Colors bought in the bulk need to be both reground and fluxed. We 
have no formula for grounding oil at present. 
Iowa. — You will find all information in regard to lustres in the Class 
Room Keramic Studio. You will find designs of water lilies in May, 1901 
Keramic Studio, also in October, 1900 Keramic Studio and Dec, 1903 
Keramic Studio. Color study by Miss Maud Mason, May, 1902. Try fir- 
ing your oil kiln, turning on more oil from time to time, watching the chim- 
ney and giving only as much oil as you can burn with just a suspicion of 
smoke. We think your china will be fired quite as quickly and with less 
trouble than if oil is crowded on. The flame is just as hot, for only a certain 
amount of oil can find air enough for perfect combustion, the rest goes off in 
smoke, not heat. You will find all information in regard to paste for gold 
in Class Room Keramic Studio. 
Relief enamels usually in powder are sometimes hard fire enamels, some- 
times for light fire. Aufsetzweis is a hard fire enamel put up in tubes and 
much The most reliable for a beginner. Tube colors are mixed with oils 
which harden rapidly. Mix a little tar oil to keep open on palette or clove 
oil or oil of lavender, whichever medium you prefer. See answer to Mrs. 
A. W. in regard to fat oil and thick oil. 
