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soon she and her associates worked out many beautiful colors and decorations, such as the tiger eye and the cerulean blue. By 1887 the pottery had become selfsupporting, and Mrs. Storer turned over the work to Mr. Taylor, a talented craft worker. The Rookwood is a large pottery, but this same work may be carried on at home with a few simple tools.

Pottery is made in several ways, such as modeling, turning on the wheel, and casting in a mould. Beginners usually model their pottery because it gives them skill in using the material and increases their knowledge of form. The simplest way is to take a lump of clay and model the work. Upon this they build the sides by coiling the clay and pressing the coils together with the fingers, remembering to keep a uniform shape and thickness. Before they have made many pieces, they discover that if the clay is not well worked in modeling it breaks in the firing. The decorations may be very simple or complex. A very simple and artistic effect is obtained by in

dentations made with wooden AN EXQUISITE SPECIMEN OF BOOKBINDING.

tools. The work of Miss Gertrude Stiles. Deep-Red Levant, ornamented with white flowers, small green dots, and gold tooling.

The difficulty of the task is in

creased when it comes to workplaced her at its head. Though there are ing on the potter's wheel. This method seven or eight men in the guild, she is was known to the Egyptians many the only woman worker. This shop de- thousands of years ago. It is a difficult votes itself almost entirely to the making process and is learned only after much of table services, and Miss Knight does experience. The only advantage of this

. all of the designing. The silver turned method over the other is in the perfect out here is exceedingly beautiful, and shape that is gained, but the worker has puts one in mind of antique Sheffield in to learn how to manipulate the machine its palmiest day.

before trying to make pottery on the One of the earliest American workers wheel. in pottery was Mrs. Maria Longworth In moulding pottery a model is made, Storer, a pupil of Dallas White. She and a plaster of Paris cast is made from first worked in a very simple way, later it. The clay is mixed with water and founding a pottery called "Rookwood.” poured in the mould ; the plaster of Paris It did not take her long to abandon the absorbs the water and the slip hardens ordinary wares of commerce, and to and so can be turned out. Its shape is spend her time largely in making fine then perfected on the wheel and the wares after the Japanese style. Her rou

rough places filled in. The glaze can be earliest work was limited to a shell-tinted put in before the firing, and this is called ware, pink shading to a dull white; but "under-glaze"; if put on after, it is called


"over-glaze" and must be fired a second time.

Mrs. Stewart Frackleton of Chicago was a pioneer in this art. She began to display her pottery some twenty years ago. She felt it was unnecessary to do elaborate work to make it successful. From the beginning her pottery was characterized by good designing. Occasionally she made her work more effective by moulding a bunch of fruit on the bowl or pitcher.

Mrs. Alsop Robinson of Syracuse, N. Y., is another woman whose work is recognized everywhere. Its popularity has grown until it is one of the favorite wares in the market. She studied some time at Sèvres, where she learned to produce some wonderful glazes. She has a peculiar fondness for dull colors and uses the Matt finish. Mrs. Robinson does most of the designing and the making of the ware, but her husband assists in the factory and manages the business end.

The Newcomb is one of the most in

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teresting potteries in this country. This pottery is part of the girls' college at Newcomb, La., and was started in a very simple way. The girls start by taking courses in design, and are then admitted to the pottery without tuition. The profits from their work belong to them.

There is a great step from the factory pottery to the simple workroom devised in the home, and this is what Mrs. Helen Hammill has accomplished, besides looking after her home and caring for her children. She began her work with twenty-five dollars' worth of tools. was while making pottery that she experimented in terra-cotta, and, after working some time, succeeded in modeling small terra-cotta figures. There are many other women whose work is winning commendation, and the market for their work is sufficient proof that the making of pottery affords good opportunities to those possessing originality and patience sufficient to change shapeless clay into perfect forms by means of their hands or the potter's wheel.

Leather work is a general term used for decorating leather and binding books. Leather work is one of the oldest of the arts and crafts; but it is only during the


NewcomB LAMP, WITH SHADE OF WOVEN Beads. Vase and shade were designed and executed by Mary G. Sheerer. This lamp was accepted by the International Art Jury, and exhibited in the Palace of

Art at the St. Louis Exposition in 1904.


"Shepherdess Calendar" of Spencer. The cover is a soft green with a border of roses.

Another interesting work is a dark green morocco with a decoration of poppies done in white.

The women in the East are quite as deeply interested in bookbinding as are those in the West. A large room in the Art Students' League in New York is fitted up for this purpose. Many women, af

, ter studying there, finish


las Cockerell. Mrs. Helen A. Hammill working on a bust of her youngest daughter.

Decorated leather is

used for draperies, table last few years that this craft has grown covers, folios, and cases, as well as for popular in this country. Whether used book covers. This work may be carved, for the cover of a book or for house stained, burned, or embossed. The most furnishing, the method is the same.

It was Cobden Sanderson who inspired many English and American women to devote themselves to the task. The binding of a book is quite an elaborate process, and many tools are needed for this work. The term “forwarding” is used for all the steps except the lettering and decorating. The design is traced and etched on the leather of the cover. There are many ways of decorating books; the most usual is by tooling. Finishing tools are stamps of metal that have a device cut on the face. Blend tooling is where the impression is made with hot tools, and gold tooling is where the impression of the tools is left on the leather in gold.

The foremost binder in this country is Miss Ellen Starr of Chicago. Her shop is a large studio in Hull House, well equipped with tools, examples of her work, and splendid Morris plates. Miss Starr is a pupil of the great English binder, Cobden Sanderson, and though her work is characterized by great originality, some of it shows the influence her teacher's work has exerted. Her style of decoration is marked by balance, symmetry, and definiteness, which are essentials for good bookbind


DESIGN), AND GLOVE CASE (GEOMETRICAL DESIGN). ing. A beautifully bound book is the

Work of Misses Rose and Minnie Dolese,


popular of these is staining-etching the handsome piece is a table scarf, six feet design and decorating it with different- in diameter. The peacock is used as a colored dyes.

motive in decoration. It is surrounded The Misses Rose and Minnie Dolese by clusters of eyes and feathers, the blue have won special recognition for their the eyes blending with the old rose work in illuminated leather ; much of of the feathers. their decorating is done in Japanese pat- There are many other women earning terns. A very fetching piece is done in a comfortable living and receiving recchrysanthemums, heightened by touches ognition as craft workers; but the work of green and dull blue.

already mentioned goes to show that this Viss Bertha Bennett is another Chica- country is already sufficiently cultured to go woman who works in leather quite appreciate excellent handicraft, and that as successfully as with metal. She has many women are now teaching the gosrevived some of the designs conceived pel of William Morris by their handiby the Florentines centuries ago. A work.

A Thousand Years From Now

THOUSAND years from now,

Ten times ten decades hence,
Who then will care that I have lived

In want or opulence?

Who then will shed a tear

As by my grave he strays,
Or even know my resting place,

In those far-distant days?

And yet, though none may trace

The influence to its source,
No life doth ever cease to work

With good or evil force.

And other lives shall be,

As I have lived and thou,
Or base or noble-heed it well-
A thousand years from now.


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stantly at work-namely, the Naval Flag-Making Establishment. To supply the hundreds of vessels, ranging from the great battleships down to the tiny launches, with their prescribed quota of bunting, requires the constant manufacture of many thousands of flags. To cut out, sew, and complete these, Uncle Sam maintains an extensive plant going at full blast all the year round, and employing nearly half a hundred skilled needlewomen and a few men. The Flag Room is on the third floor of the Bureau of Equipment Building. On entering the large room, the visitor's first impression is a blaze of color. Rolls of bright bunting are heaped up, waiting to be cut, while long lines of electrically driven sewing-machines, with women operators, are reeling off and putting the finishing touches to American and foreign ensigns of many different hues and i-atterns.

Last year this flag factory cost the Government $60,000: $43,000 of this amount was for material alone, and $17,



Requires over two weeks to make.

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