International studio (25.1905)

PIAZZA TREATED AS SUMMER LIVING ROOM

cushions, contrasts pleasantly with the pale yellow
of a Colonial house, as does black furniture with
yellow and white cushions. Black furniture, with
cushion covers of dull blue Oriental cotton is pleas-
ing against white walls, while blue and orange
bandanna handkerchiefs seem to have been made
for piazza cushions for the brown-stained, shingled
house. Any piazza on which blue is
used is greatly dignified by the addition
of seats and jardnieres of blue china.
What one may call the impressionist
style of furnishing is agreeable CM
ofr, when it would be intolerably gar-
ish indoors. The piazza is a good place
for experiments in color.

submitted. But it was, of
course, the policy that con-
tributed to the happy de-
cision to accept the invita-
tion of the National Arts
Club, and not this hos-
pitality that shaped the
policy. The resulting dis-
play illustrated the better
functions of a public ex-
hibition as clearly as it set
forth the real strength of
the present tendencies in
keramic work: there was
not too much on view and
nothing or little that was
unimportant.
By and large the show
plainly betokened two things: an increasing vir-
ility and self-possession in the individual , artist,
and a mounting impatience within this unofficial
guild of the kiln in America with mediocrity of
inspiration or achievement. The difficulties that
follow in the train of such well-considered
aversion to any compromise with lower aim

^ y OTES ON THE CRAFTS
AND INDUSTRIAL
ARTS.
A CAREFUL sifting, and a
rigid exclusion of every piece of work
which failed to reach the high stand-
ard chosen, resulted in a small but re-
markable group of pottery, porcelain
and overglaze work at the recent ex-
hibition of the Society of Keramic
Arts, held at the National Arts Club,
New York. The organization is to be
congratulated on the wisdom and cour-
age of so severe a self-scrutiny. There
is, to be sure, insufficient space in these
galleries to allow of a vast array of
cases; and this physical limitation in
itself would have shut out a consider-
able number of the creditable exhibits

STAIRWAY IN RESIDENCE OF EDGAR L. MARSTON
FORT CHESTER, N. Y.

LXXXI