198 
KERAMIC STUDIO 
ANITA GRAY CHANDLER - - - Page Editor the variety of borders, the effectual filling of spaces, and the 
7 Edison Avenue, Tufts College, Mass. curious serpent-like ornaments upon the handles. 
*^fc^ 
AT THE SIGN 
OF THE 
BRUSH AND PALETTE 
This is Ye Old Art Inn 
where the worker of Arts and 
Crafts may rest a bit and par- 
take of refreshment. 
IT is bad taste to mix two arts," declares Rollin Lynde 
Hart, writing on "What is Good Taste?" in a recent 
issue of Home and Garden, "or to mix two types of design, or to 
violate 'known principles of color harmony', or to indulge in 
sheer humbug. Paint a statue at your peril. Never combine 
Gothic and Renaissance. Die in your tracks rather than put 
crimson next Vermillion. Never, if you value your reputation, 
simulate one material with another." China decorators might 
well apply some of this advice to their own particular work. 
Ancient Amphora Vase with interesting variety of conventional borders of 
black upon a red ground. In the collection of the Museum of Fine 
Arts, Boston. (Printed through the courtesy of the Museum Directors.) 
Mr. John E. D. Trask, art director of the Panama-Pacific 
Exposition at San Francisco, has returned East after an absence 
of three years. In an interview with a Philadelphia reporter 
he has this to say of modern American art: "At the present 
time in America, there are persons producing a higher grade of 
art than was ever produced consistently in any country in any 
period, and what recognition is it given? Take the people of 
Philadelphia for instance. Here there is located one of the two 
great — truly great — art schools of the universe, the Pennsyl- 
vania Academy. The other is the Boston Museum. How- 
ever, about six hundred people annually become members of 
the academy. The membership fee is ten dollars. Six hun- 
dred people out of nearly two million. Think of it!" 
The first woman member of the National Academy of De- 
sign to serve on a jury of award for that institution, is Miss Ce- 
cilia Beaux, a prize-winning artist herself. She participated 
with such men as Herbert Adams, J. Alden Weir, Kenyon Cox, 
Bruce Crane, Bolton Jones, H. A. MacNeil and Paul Manship 
in bestowing honors upon the artists and sculptors who entered 
in the exhibition last March. 
Since the last issue of the Keramic Studio two important 
events have taken place in the world of fine arts. Auguste Ro- 
din, the famous aged French sculptor has acquired a very young 
and, we trust, charming wife. The other event is one of sadness 
— the passing of that great teacher and critic, Carolus-Duran. 
He was Sargent's instructor at one time. 
And now before we close the door of the Inn, a word about 
this month's illustrations. They are two early examples of 
early "pottery painting", the ancient ancestor of modern china 
painting. Both cases are of the graceful and majestic amphora 
type, which is distinguished by two handles. The first is of the 
early Athenian style with unmistakably archaic decoration con- 
sisting of geometrical black figures upon a red body. Notice 
Graceful Classical Vase, showing the human figure as a decorative motif 
In the collection of the Museum of Fine Arts, Boston. (Printed through 
the courtesy of the Museum Directors.) 
The second vase is of a later and more refined period when 
the order of decoration had been reversed. The figures are 
red upon a glazed black body and are of a mythological or clas- 
sical character, drawn with an easy, flowing grace, and not a 
little attempt at portraiture. The geometrical borders are still 
used, but quite sparingly. 
Modern decorators may well study these examples of Hel- 
lenic ceramics, for the designs have withstood the test of a thou- 
sand years and more. Those naturalistic painters who seem to 
feel that conventional design is a recent invention of a few 
fanatics may learn an obvious lesson from these ancient vases. 
-j3-^. 
