The Clay Products of New Jersey At the Present Time 3 G l.U 22c Newark Museum Association v& 9F-1*? *- lltiS UNIVERSITY OF ILLINOIS LIBRARY AT URBAIMA-CHAMPAIGN BOOKSTACKS The Clay Products of New Jersey At the Present Time An Exhibition in the Public Library Building February 1 to March 20 1915 Newark, N. J. The Newark Museum Association 1915 Contents Page Brick . 5 Methods of Making. .... 6 Hollow Ware and Fireproofing. . 7 Pipes and Conduits.. 8 Story of Pottery. ...... 8 Contents of Exhibition Cases. 9 Tiles, Floor and Wall. 11 New Jersey Tile Making. 12 Terra Cotta. 13 Decorative Ware and Table Ware. 15 Refractories. 16 Crucibles . 18 Sanitary Ware. 18 Use of Clay in Education.. 19 Vocational Education of Potters.. 20 NOTE The Catalog of the Pottery and Porcelain made in New Jersey before 1876 is published in a separate pamphlet and is sold, at twenty-five cents. This exhibition is the first of a series which the Museum hopes to hold, on the more important local industries. The one for next winter will probably be on leather and all tilings made of leather. Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/clayproductsofneOOnewa The Clay Products of New Jersey BRICK “Here lie the remains of James Pady, brickmaker, in hope that his clay will be remoulded in a workmanlike manner, far superior to his former perishable materials.’’ Epitaph from Addiscombe Church-yard. Devonshire, Eng. The most ancient records mention bricks. The walls of Babylon were made of burnt brick over 6,000 years ago. The brick in. the baths of Titus proved more durable than the stones of the Colosseum. The first brick buildings in the United States were built under Wouter Van Twiller, in Manhattan, of bricks from Amsterdam. Until the timber supply of the country began to fail, the development of forested lands by the railroads caused sawmills to multiply and from them came a cheap light ma¬ terial for American houses. In cities losses from fires soon led to greater use of bricks. Then came steel for skeletons of buildings, the walls being only screens fastened to this frame. In these buildings clay products are frequently used in the form of hollow ware walls and terra cotta trimming. Yet brick making still holds its own. In 1909 the value of the brick and tile made in New Jersey was over four million dollars. In common brick there is little attention paid to the color or the smoothness of the surface or the sharpness of the edge. Pressed brick are so called because after molding the brick are pressed to give sharp edges, and smooth surfaces. En¬ amel brick have a coating of opaque material. Glazed brick are coated with a transparent glaze. Common brick are made of easily-molded clays that burn hard at a low temperature and do not often warp or crack. Brick clays generally burn red. 6 Newark Museum Association Pressed, enameled and glazed brick need a better quality of clay. It must burn to a uniform color, it must not warp or split and it must become hard at a moderate heat. Paving brick can be made of shale or clay that vitrifies well. Methods The clay is prepared by weathering it, crushing hard clay or shale, rolling dry clay containing pebbles, or tempering wet clays by soaking and mixing. It is sometimes cast in wooden molds, either by hand, or by a machine which presses the soft clay into the mold. The open surface is then smoothed off with a scraper. Sometimes it is forced through a die in the form of a square bar, and is cut into bricks as it comes out from the die. Dry, or nearly dry, powdered clay is pressed into hot steel molds. This makes a brick with sharp edges and smooth faces. The bricks often are dried by artificial heat. They are then burned in kilns, varying from temporary structures which are torn down after each lot of brick is burned, to complicated, permanent buildings. In the kiln the brick are loosely stacked, and hot air is passed either up through the brick and out through openings in the top, or by flues to the top and down through the brick to the bottom. The New Jersey Co., 17 Battery Place, New York and Mata- wan, N. J. Makers of re-pressed building brick, the “Taylor” Brick. This brick -was used in the Woolworth and Equitable buildings, the Biltmore Hotel and the Grand Central station. New York. Also in the Bamberger store, Newark. American Enameled Brick and Tile Co., South River, N. J. Makers of enameled brick, for exterior and interior use. Sayre and Fisher Co., 261 Broadway, New York and Sayre- ville, N. J. Makers of enamel, porcelain, face, re-pressed red, and fire brick in a variety of styles and shapes both by hand and by machine. The output is “one million per day.” New Jersey Clay Products t Walter K. Watson, Yorktown, N. J. Makers of common brick and drain tile. New York Clay Products Company, Inc., 1 Madison Ave., New York, and Sayreville, N. J. Manufacture building blocks, flue linings, interlinking and building blocks. Annual pro¬ duction 40,000-50,000 tons. HOLLOW WARE AND FIREPROOFING There are many forms of hollow bricks and blocks, gen¬ erally with cross partitions. The blocks are light and strong. The hollow spaces serve as nonconductors of heat. These hollow blocks can be used for foundations, in which case they are vitrified or finished with a salt glaze to prevent absorption of moisture. They are used for floor arches, par¬ titions, flue linings and for surrounding columns, beams and girders in fireproof buildings. They are made of brick clay, or, if used for fireproofing, of semi-fire clay. For this purpose they must be able to resist great heat and then streams of cold water without splitting or cracking. Terra cotta lumber is the name applied to bricks made of clay and sawdust. The wood burns out when these bricks are fired, leaving the material so porous that nails can be driven into it. Much of the clay in New Jersey can not be used for the finer kinds of ware, but is suitable for ordinary hollow ware and terra cotta lumber, and when mixed with fire clay, for fireproofing. Much of this is near tide water, and can easily be shipped. In 1878, according to a state report, Henry Maurer of Perth Amboy was making a little of this ware. The firms exhibiting in this museum at present produce hun¬ dreds of thousands of tons of hollow ware annually. National Fireproofing Company, Flatiron Building, New York, Fulton Street, Pittsburg and Perth Amboy, Lorillard. Keasby, Woodbridge, Port Murray and Keyport. New Jersey. Newark Museum Association 8 Makers of hollow tile for fireproofing, house construction, con¬ duits and brick. Annual production in New Jersej^ is 210,000 tons. Crescent Brick Co., 60 Broad St., Redbank and Eatontown, N. J. Makers of “Crescent Tile” for building fronts and mantels. Estimates given for special sizes and shapes. American Clay Products Company, 175 Fifth Avenue, N. Y. and South River, N. J. Makers of hollow tile, conduits and drain tile, flue lining, wall coping and terra cotta fireproofing. Annual production 100,000 tons. PIPES AND CONDUITS Conduits form a special kind of hollow ware. They are pipes or tubes, square or round, often having several cross partitions, and are used to hold electrical cables under ground. Drain tiles are generally cylinders made of good building brick clay. They may be porous, and are usually unglazed. They are made by forcing stiff clay through a die, as are conduits and in fact all hollow ware. Sewer pipes are made of any clay that will vitrify well. They are usually salt glazed. Elbows and Y’s are made by molding clay in plaster molds, or sometimes by fitting pieces together, and cementing the parts with soft clay before burning. The vast amount of pipe and wire laying, both in Northern New Jersey and in the subway constructions in New York, has caused a great increase in the manufacture of pipes and conduits in this state during recent years. G. W. Boynton, Inc., Sewaren, N. J. Makers of round, hexa¬ gonal, sole and horseshoe drain tile, also gutters, collars, caps, outlets, etc. Monthly output is 500 tons. THE STORY OF POTTERY The story of pottery is best learned by visiting a pottery. The Museum shows in a series of cases the steps of the pro- 9 New Jersey Clay Products cesses and every afternoon Mr. Enoch G. Bourne, instructor in the Trenton School of Industrial Arts, exhibits the pro¬ cesses of throwing, casting, molding and firing. The Cases Case 1 contains the chief ingredients used in making porce¬ lain, each with a label explaining its value. These materials are: kaolin, or white clay; ball clay, or plastic clay; flint pebbles and quartz rock, the source of silica, which melts more easily than clay, and decreases shrinkage; felspar, which melts easily and on cooling binds the other materials together; and burned bone, which may be used instead of the spar as a flux. Case 2 shows the steps of the casting process. The model is made; plaster paris is poured around it, and dries, thus form¬ ing a mold; into this mold is poured clay, mixed with water to the thickness of cream, called “slip.” The plaster paris absorbs water from that part of the slip next to the mold, so that it solidifies to the consistence of a thick mud pie; then the inside fluid portion of the slip is poured out, leaving the cast object. The mold is removed, and the object is taken out and dried. Case 3 contains a vase, cast and fired, a vase glazed, and some of the materials used in glazing. These are: clay, which serves to thicken glazes; flint, which after melting hardens to a glassy substance; chalk; borax; white lead and zinc. There are many other substances used in glazes. The biscuit, or baked clay, is dipped into the fluid glaze and dried and fired. Case 4 contains specimens of unbaked, partly baked, and fully baked clays, pictures of the kilns in which the baking or “firing” is done, specimens of “trial” pieces which can be removed from the kilns while the firing is in process to test how hot the fire is, and specimens of a mold, a cast dried, and a cast fired to show the shrinkage and the color changes that firing produces. 10 Newark Museum Association Case 5 contains several kinds of glazes. The object of glaz¬ ing is to decorate or to render water proof. The glaze is a substance that spreads over the surface of pottery and, when fired, becomes glassy, or vitrifies. When the vitrification is not complete, the glaze is dull, or “matt.” A glaze that vitrifies well is glossy. Occasionally the materials in a glaze come together in such exact propor¬ tions that crystals form, and the glaze is “ crystalline. * ’ Pot¬ ters usually try to prevent this. Lustres are formed of a thin layer of finely divided metal, applied over the glaze. The more brilliant the glaze, the more the lustre shines. A glaze that does not shrink at the same rate as the body of the ware either scales off or cracks, making crackled ware. A glassy substance is sometimes produced by melting together silica and an alkaline salt and this glass or frit, ground up fine, is mixed into the glaze. This may be done because some of the substances would have dissolved in the water if they had not first been united in the frit. Tin used in a glaze does not combine with the other materials but remains sus¬ pended, and makes the glaze opaque. Copper in the glaze may give a great variety of colors according to the amount of oxygen and of other materials with which it combines. Lead is used both in glass making and in the making of trans¬ parent glazes. Coloring matter may be used either in or over a lead glaze. Some potters call a transparent glaze a glaze and an opaque glaze an enamel. There is no fixed rule for the use of either term. Case 6 shows several ways of making pottery. A round ob¬ ject, as a vase or bowl, may be “thrown,” by setting it in the middle of a wheel, shaped and turned like the revolving top of a piano stool, and, as the wheel turns, molding the clay with the hands. Other objects are made by coiling a long round piece of clay as coiled baskets are made. The coils stick to¬ gether and then can be smoothed with the thumb so that they do not show as ridges. Objects can be built of small pieces New Jersey Clay Products 11 of clay, stuck together. And a “bat,” or flat piece of clay like a pie crust, can be pressed into or over a mold and smoothed off to the right thickness, either by the hands or by a shaped piece of wood called a “jigger.” Case 7 contains specimens of several kinds of pottery that are named, from the flower pot of red earthenware to the finest kind of porcelain called “belleek.” Pottery is divided into earthenware and porcelain. Porcelain is semitransparent. Earthenware is opaque. Earthenware: Red earthenware, without glaze; yellow ware made of buff-burning clay with a transparent glaze; Rockingham ware of coarse clay with a dark brown glaze: stoneware, a coarse ware with a salt glaze, which is made by vaporizing common salt in the kiln so that it unites with the clay and forms a coating on its surface; ironstone, which is of as good material as that in some china, but not burned to the point of vitrifying: “C. C.”, or cream colored ware; and majolica, a ware decorated in relief with soft colors mixed with the glaze. Under porcelain there are: bone china, and belleek, named from the Irish village where it was first made. Case 8 contains specimens showing some of the devices used to decorate pottery. It may be molded in a form containing raised patterns; it can have molded pieces set on its surface, stuck with “slip”, and the whole glazed; patterns may be painted on in different colored slip, designs may be trans¬ ferred to the biscuit under the glaze from printed paper; or decorations may be similarly transferred over the glaze, and fixed in the glaze by gentle firing; or designs may be etched upon it by acids; and it can be hand-painted over the glaze and fired. TILES—FLOOR AND WALL Tiles made of burned clay are used for flooring and for wall covering. They are often more durable than marble or slate; they wear more evenly, and can be made in a greater variety of colors and shapes. 12 Newark Museum Association In floor tiles of a solid color, the tint extends through the tile from the face to the back. In “encaustic tile” the pattern or face color is only about 3/16 of an inch thick, while the rest of the tile is made of a different kind of clay. Floor tiles should be burned to a great density, in order that they may not absorb water or admit dirt to their pores. These tiles are molded out of dry, powdered clay. For uni¬ colored tiles the molds may be filled by machinery, but in making encaustic tiles, which are of several colors, the molds must be filled by hand. A frame-work of brass strips, so arranged as to mark the boundaries of each color is first set into the mold, thus dividing it up into cells. Into each of these the color is poured till every cell is filled with the proper color. The frame-work is then withdrawn from the mold, and the latter filled up to the top with the clay that forms the body of the tile. Wall tiles differ from floor tiles. The body of the tile is made of white-burning clay, and is not burned very hard. Wall tiles are used for hallways, bathrooms, wainscoting, mantels, soda fountains, and other spaces needing easily cleaned decorations. They are generally glazed, and are often decorated by raised and colored designs. The relief is often prominent and over it is a heavy colored glaze, its differences in thickness producing different shades of the color. New Jersey Tile Making Only part of the clays used for making tiles in New Jersey are mined in the state, some being imported from Pennsyl¬ vania, Florida, North Carolina, and even from England. The tiles are sold in this country and abroad. The C. Pardee Works, Tile Department, Perth Amboy, N. J. Manufacturers of white glazed and dull finish wall tile and ceramics. Matawan Tile Co., 35 W. 21st St., New York, Matawan and Kevport, N. J. Manufacturers of white vitreous and encaus- New Jersey Clay Products 13 tic floor tile and ceramics. Special designs for floor spaces are furnished on application. American Encaustic Tiling Co., 1123 Broadway, New York and Maurer, N. J. Makers of sanitary glazed and unglazed wall and floor tiles. Mueller Mosaic Co., Trenton, N. J. Makers of Faience mo¬ saic for bathrooms, swimming pools, mantles, decorative signs, walls and floors. Made in various styles and designs, Floren¬ tine, Flemish, Roman, etc. Decorative wall effects are gained by inserts of ornamental tile. The company designs also art faience panels. New Jersey Tile Co., Trenton, N. J. Makers of art tile, ceramic floor and white vitreous tile. Oldbridge Enameled Brick and Tile Co., Oldbridge, N. J. Art tiles, wall and floor tiles. The Providential Tile Co. is represented by tile lent by E. H. Harrison & Bro., Newark. TERRA COTTA The term terra cotta means literally baked earth. It is usually employed as though it meant only architectural orna¬ ments made of baked clay. Yet Michael Angelo made statues of it; the Japanese use it cleverly painted as “imitation bronze” for busts, tea jars and bowls, and the ancient Greek children had terra cotta dolls, with movable legs fastened by wooden pegs. In the trade today pieces of clay work for architectural ornament over 8 inches square are called terra cotta; under that size they are called ornamental brick. The little Tanagra figures in the statuary hall of this mu¬ seum are copies of terra cotta figures found in old Grecian tombs. The famous Della Robbia ware of Italy was of terra cotta covered with opaque enamel, and painted. England used it much. From the time of Henry VIII it was popular in large bifildings, and since Queen Anne’s day it has been used for ornamenting smaller houses. For a while it fell into disuse, but since the use of iron and steel in buildings has come into 14 Newark Museum Association fashion good architects are employing terra cotta as a more honest material, and hence in better taste, than galvanized iron sanded to simulate stone. It is common to build the lower stories of a house of stone and the upper stories of brick with terra cotta decorations. Terra cotta can be produced in a variety of colors, and while rains leave stone surfaces dingier, they brighten sur¬ faces made of the clay. It is as durable as stone; it can be produced in more shades and colors; it can be molded into a great variety of designs; it can be given more delicate out¬ lines than stone; it is lighter than stone. The terra cotta clays of New Jersey are practically inex¬ haustible. They lie between Woodbridge, Perth Amboy and New Brunswick in beds occasionally of great depths, and are of great fineness of texture and plasticity. A good deal is exported to other states. Highly skilled labor is employed in the designing and mak¬ ing of terra cotta ornaments. The objects are formed either in plaster molds or by modeling. The clay is pushed into the mold and spread over the in¬ terior to a depth of over an inch. Then it dries until it has shrunk enough to be loose. It is removed, trimmed off, and slowly dried. It is then sprayed with a thin mixture of kaolin, quartz, felspar, coloring matter and water called slip, which forms a colored coating over its surface. It is finished by burning. New Jersey Terra Cotta Co., Singer Building, New York, and Perth Amboy, N. J. Makers of architectural terra cotta. Atlantic Terra Cotta Co., 1170 Broadway, New York and Perth Amboy and Rocky Hill, N. J. Manufacturers of archi¬ tectural terra cotta. The Woolworth Building, Education Building and Grill Room at the Hotel McAlpin are notable examples of their work. The green vases at the entrance of the Public Library are lent by this Company. South Amboy Terra Cotta Co., 150 Nassau Street, New York and South Amboy, N. J. Makers of architectural terra cotta. New Jersey Clav Products 15 This company furnished the terra cotta used in the Cen¬ tral High, Normal, South Side High Schools of Newark and many others. The head of Whistler, a duplicate of the me¬ dallion on the Keppel Building, New York has been* given to the Museum. DECORATIVE WARE AND TABLE WARE There are several exhibitions of ware chiefly decorative in purpose. In all the exhibits, even those of the most exclusively useful intention there is inevitably much beauty. So plastic a ma¬ terial as clay cannot but reflect the universal human aesthetic quality. But certain exhibits are of ware exclusively decora¬ tive in purpose. It is impossible to separate decorative ware from table ware in a catalog, for some firms make both, and, even where the purpose of manufacturer purports to be purely commercial, the tendency of the potter to produce forms and tints that are beautiful affects the results. The Fulper pottery shows both the kitchen and pantry ware for the production of which the firm was established, and specimens of those glazes of many colors and lustres for which it is now famous. The Clifton ware, in the opposite case has been lent by individuals or was already possessed by the mu¬ seum. It consists of a great variety of designs in both shape and decoration which the pottery used to make but, owing to a lack of appreciation in America for American art pottery it dropped for a more remunerative line of clay products. Mrs. Poillon’s work is distinctly an art product. The Lenox porce¬ lain, both belleek and bone china, has a quality of its own, partly because of the quality of its body and its glaze, and partly, perhaps, because it betrays plainly the presence in its art department of a sculptor, able to produce forms of subtle grace, of a skilled painter, and of a man trained, as a de¬ signer for goldsmiths’ products, to make intricate and deli¬ cate decorative designs. U) Newark Museum Association The Clifton Art Pottery, New r ark, was established in 1905 by Dr. Tschirner and was run until 1911. Crystal patina and brown ware modeled after Indian designs were their spe¬ cialties. The Pottery is now producing tile. Fulper Pottery Co., Flemington, N. J. Established 1805. Makers of art pottery and stone ware for domestic use. Clara T. Poillon, 125 E. 70th St. New York and Woodbridge, N. J. Designer and maker of pottery for house, porch, gar¬ den or table use. Besides original designs, careful reproduc¬ tions are made of antique pottery. Mrs. Poillon also makes her colors. Matthew Lotz, Metuchen, N. J., maker of art pottery. Lenox, Incorporated, Trenton, N. J. Makers of fine porce¬ lain tableware and decorative china pieces. Founded in 1889. Specialties are Belleek ware and “bone” china. International Pottery Company, Trenton, N. J. Makers of dinner and hotel tableware. Woodbridge Pottery Co., Woodbridge, N. J. Makers of door knobs and white stone ware. The Greemvood Pottery Co. and the Mercer Pottery Co. are represented by tableware lent by L. Bamberger & Co., Newark. Maddock Pottery Co., Trenton, N. J. Makers of hotel and restaurant table ware. An instructive exhibit showing pro¬ cesses of decorating porcelain. Ritger’s Excelsior Pottery, 495 Fifth Street, Newark, N. J. Makers of fiow 7 er pots in all forms and garden pottery. REFRACTORIES Refractory clays are those that can be raised to a great heat without vitrifying (becoming glassy) or melting so as to lose shape. The use of such clay to make furnace lining, fireproof ware (See Hollow r -ware on 3rd floor) and fire brick is a modern in¬ vention. New Jersey Clay Products 17 Pure silica (the material of sand) mixed with clay makes refractories, but if by chemical union with other substances silicates are formed, they act as fluxes (See Story of Pottery, Case 1). Often “grog”, made of the rubbish from fire-clay works, ground up, much as “frit” is ground for glazes (See Story of Pottery, Case 3) is used instead of sand. Heating and covering different parts unevenly tends to crack. The more porous, the less the bricks do this. Ashes and gases often tend to injure fire brick by chemical action. The less porous the brick the less this happens. Fire clay mortar is of materials similar to those in the brick, ground fine and mixed with water. Gas logs are made of clay, as that is uninjured by the heat of the flame. Straight and Richards, Fabyan Place, Newark, N. J. Mak¬ ers of terra cotta specialties for the fireplace, gas logs, grates and stoves in various finishes, oak, brick, driftwood, etc. All of the logs are made by hand. Annual output about 12,000 logs. M. D. Valentine & Bro. Co., Woodbridge, N. J. Makers of all kinds of fire-brick, used in locomotives, boilers, furnaces, grates and ovens. Didier-March Company, Perth Amboy, New Jersey. Makers of refractory bricks of standard and special sizes. Annual production is about 75,000 tons. J. H. Gautier & Co., Jersey City, N. J. Makers of firebrick and crucibles for foundry use. Star Porcelain Co., Trenton, N. J. Makers of electrical porcelain specialties. Cook Pottery Company, 50 Church Street, New York and Trenton, N. J. Makers of porcelain parts for all electrical purposes. Special shapes made upon application. Annual production is about 300,000. 18 Newark Museum Association CRUCIBLES Crucibles are used for containing materials that must be melted. The crucibles, therefore, must be made of materials difficult to melt. Carbon, either found in nature, or obtained from gas retorts is mixed with refractory clay to make some crucibles. The material used must resist chemical action by the material to be melted in it so each kind of metal is put into a different kind of crucible. The beauty, both in shape and in color, of the crucibles shown here is an instance of the fact that the useful is often the beautiful. Jonathan Bartley Crucible Co., Trenton, N. J. Manufactures graphite crucibles used in foundries, stirrers and skimmers, stoppers, nozzles, etc. SANITARY WARE Someone has said that, so far, the great contribution of America to Art is the pure white American bathroom. Cer¬ tainly one of the chief contributions of America to health and comfort is her sanitary pottery. The history of the steps by which the improvements were made that substituted American for English sanitary pottery, even in America, is full of the interest that always gathers about improvements to which men of intelligence and zeal de¬ vote their lives. The Patent Office Records and the personal anecdotes of the potteries contain the facts. At present every housekeeper can easily understand how both the tank and the bowl work, for both have been made simple and effective. The lifting of a valve starts the flow from the tank, and the consequent sinking of a floating ball lets new supply into the tank. The bowl and its connections are so shaped that a body of pure water prevents such gases as may be in the pipes from passing up, and a pipe from below this layer of water carries these gases out of the house. When the water from the tank starts to flow it starts an outflow that creates a 19 New Jersey Clay Products siphon action below the bowl, which draws out the contents of the bowl. And at the same time a part of the water from the tank washes the sides of the bowl down. Trenton Potteries Co., Trenton, N. J. Makers of sanitary pottery plumbing fixtures, both vitreous china ware and solid porcelain. The output of these potteries is larger than that of any other manufacturer in the world. Standard Sanitary Pottery Co., 1122 Elizabeth Ave., Eliza¬ beth, N. J. Earthenware and china lavatories and tanks. Thomas Maddock’s Sons Co., Trenton, New Jersey. Makers of sanitary vitreous and “bone” china fixtures, consisting of lavatories, manicuring and dressing tables, drinking foun¬ tains, sinks, etc. Camden Pottery Company, 95 William Street, N. Y.; 1511 Sansom St., Philadelphia and Camden, N. J. Makers of vitreous china “Capoco” sanitary earthen ware. John Maddock and Sons, Trenton, N. J. Makers of sani¬ tary earthen ware. Vitreous closet combinations are the spec¬ ialties and the annual production is about 100,000. USE OF CLAY IN EDUCATION There are few places in New Jersey where the value of clay as a means of expression and of experience in the three dimen¬ sions is appreciated to the extent of using it in the schools. The fourth grades of the Montclair public schools teach modeling, incising and the application of design in clay, and have a kiln in which the objects made by the children are burned. The East Orange High School Domestic Arts De¬ partment uses clay as one of thirteen media for the application of original design. The Kent Place School of Summit, a girls’ private and preparatory school both models art objects and uses slight relief in conjunction with color for decorative design and representation. The Perth Amboy schools use it in several primary grades to produce skill, for the application of design, and to train in the realization of three dimensional forms. 20 Newark Museum Association VOCATIONAL EDUCATION OF POTTERS There are two institutions in the State that educate potters as such. At Rutgers College there is a course in ceramics parallel to the course in engineering which prepares young men for such positions as chemists and, ultimately, as superintendents of potteries. The course contains a certain amount of cultural work, but consists chiefly of the pure and applied sciences that underly the complex operations involved in the potter’s work. It has a complete equipment, a professor, and an instructor in the experimental work of the course. At Trenton, the School of Industrial Arts, among its various domestic and industrial courses, teaches both young men and young women how to make and how to decorate pottery. These courses are largely patronized by those employed in the potter¬ ies of the city who desire to add a theoretical basis to their practical knowledge, and to broaden that knowledge to include all branches of their craft. From each of these schools an instructor has contributed to the exhibition individual work showing that the avocations of his leisure hours are related to but are an expansion of his vocation. Acknowledgment is made to the following firms for interest¬ ing exhibits illustrating miscellaneous uses of clay: L. Bamberger & Co. J. J. Hockenjos Co. E. A. Sayre. Rising & Thorne Roger Williams. Welsbach Co. E. H. Harrison & Bros. Platt and Washburn Refining Co. The Roessler and Hasslacher Chemical Co. Milton Bradley Co.