watchful study of birds and flowers, have a delightful brightness of
colour and design. His ornaments for the Cape Town memorial of
the South African War, written by Graily Hewitt, were interesting
examples of his work in another vein.
Printing. During the earlier years of the century book produc- tion made remarkable advances. The books issued by the Doves Press, founded in 1900 by T. J. Cobden-Sanderson and Emery Walker, were rapidly taking a place as the sole possible rivals of the classic products of the Kelmscott Press, to the excellence of which the expert knowledge of Emery Walker had paid its contribution. The Ashendene Press boeks, printed by C. H. St. John Hornby, and those of Charles Ricketts's Vale Press, were also increasing the reputation of British printing. In the trade generally a new activity was apparent; fine examples of books, and type of good design were closely studied by publishers and others, who had formerly paid but little attention to matters of this kind. The best British work gained the highest esteem wherever good printing found favour. In Ger- many, books based upon British models, or even produced under the supervision of authorities such as Emery Walker and Douglas Cockerell, showed how the genius of British printers and binders was growing in foreign appreciation. No trade, however, felt more severely the stress of the years of war; no new press of outstanding merit arose to range its products with the earlier triumphs of the century. An edition of the Odyssey was issued by the Oxford Uni- versity Press, printed in the Greek type designed by Robert Proc- tor (1868-1903); and a new fount, designed by Herbert P. Home (b. 1864), was used by the Riccardi Press. The old-established Chiswick Press maintained, under Charles T. Jacobi, the reputation that earned for it a worthy place in the revival of fine book work. Technical education in book production was developed in a special department of the Central School of Arts and Crafts under the super- vision of the leading members of the trade. Under the instruction of J. H. Mason, an authority on printing, and of a binder, Peter McLeish, the students produced books of quite extraordinary merit, and gained in a few years a very complete introduction to the whole field of book production, passing on, after specializing for a period as either printers or binders, into printing offices and workshops with a foundation of craftsmanship and design of most satisfactory breadth.
Bookbinding. An ever-increasing number of well-bound books, plainly or elaborately finished, bore witness to the improved taste and high standard of craftsmanship to which bookbinding had been brought. In Paris were shown some of the rarely exhibited volumes of T. J. Cobden-Sanderson, the first of the modern binders to bring back into use so much of the tradition of sound workmanship that was giving place to untrustworthy expedients. Practical qual- ities resulting from good craftsmanship, combined with brilliant richness of design, made all his books specially remarkable. His pupil, Douglas Cockerell, exhibited much admirable work, with decoration of distinction. As a teacher he had, perhaps, more direct influence upon the bookbinding trade than any other worker. Sound methods fortified by much original research into the qualities of materials were, through his teaching, handed on to many skilful pupils, amongst whom may be named F. Sangorski (1875-1912) and his partner G. Sutcliffe, and Charles McLeish, the younger, who inherited much of his father's skill. Cockerell's careful study of " library " binding, suitable for everyday use, was specially service- able to collectors of books. In the conservative restoration of ancient books his patient craftsmanship and wide experience gave a new lease of life to many priceless volumes in public and private libraries. Queen Mary lent for exhibition in Paris a beautifully bound copy of the reproduction of the Psalter of Queen Mary Tudor printed by C. H. St. John Hornby at the Ashendene Press. This binding, de- signed and executed by Katharine Adams, together with others from the same hand, showed the delicate tooling and clear, restrained designs of this gifted worker, who takes a unique place amongst modern binders. A further selection of her work, including a magnifi- cent volume lent by King George, was shown at the Royal Academy in 1916.
Furniture. The almost universal tendency in cabinet-making towards the reproduction of antique models implies a certain regard for traditional forms, but gravely obstructs the development of furniture really suited to present day needs. Overpowered by the craze for " old things," modern designers but seldom attempted to meet practical requirements in a straightforward, logical spirit. The absurdities of Tudor bathrooms, or Adams' kitchen ranges, would not be tolerated nowadays; but, whilst up-to-date domestic engineering is admitted into historic mansions as a matter of course, " period " furniture is still thought fitting for houses of frankly modern design. Some few makers have built up reputations with work of utility and originality. The death of Ernest W. Gimson (1864-1919) removed the most distinguished cabinet-maker of the time. His work of all kinds, and he was a master of many arts, had a pleasant English stamp, and was always his own beautiful solution of some practical problem of use or comfort. No work more soundly made, or directly designed, than his has been produced; wherever it went it raised new standards of taste. Cabinets designed by Prof. W. R. Lethaby, now too rarely seen, had the distinction that marks all his work. Sidney and Ernest Barnsley produced attractive furniture of practical design and sound make. Charles Spooner, and
A. Rpmney Green, whose cabinet work was often exhibited, were both interesting designers and makers whose work showed individual- ity and charm. Ambrose Heal gave the name of Tottenham Court Road a new sound to buyers of simply designed, well made things. George Jack became known both as the designer of many rich pieces of furniture and as a most gifted wood carver. He and Frederic Stuttig have brought new life into the decaying traditions of carved and gilded picture and mirror frames; they also did admirable gesso work, decorated with gold and colours. Many chairs, of new and serviceable design, were exhibited, including good basket-work seats made by Harry H. Peach. Examples of* good upholstered furniture, however, were strangely lacking. Few workers appear to have studied closely the essentially comfortable art of upholstery, in which British craftsmen excelled in by-gone times. A wealth of those small articles in which the woodworker always revels sta- tionery and music cabinets, work boxes, caskets and so on ap- peared at all exhibitions. These, with all their many delightful kinds of decoration by means of gesso, inlay, veneers or painting, had much pleasing ingenuity. A good deal of cabinet work enriched with patterns skilfully painted in colours was produced by several workers, Alfred H. Powell amongst others. In J. D. Crace (1838- 1919) was combined a designer of furniture and a decorator whose scholarly and refined work was full of sound traditional knowledge.
Ceramics. The death of William de Morgan (1839-1917), the famous potter who made a new reputation as a novelist at an age when most men retire from active work, removed a great figure from the scene. The wonderful display of his work brought together in Paris in 1914 rivalled the glories of early Persian wares, with its fine technique, noble, vigorously drawn decoration, and splendid play of lustre and colour. Bowls and vases of fine character, by Thackeray Turner, were exhibited in Paris and at the Royal Acad- emy, together with specimens of the interesting " Ruskin " ware of W. Howson Taylor, and some of the attractive work of W. Harrison Cowlishaw. A number of excellent vases, some modelled in the forms of amusingly serious birds, by the skilful brothers Martin, were also exhibited in Paris and other places. Alfred H. Powell and his wife, Louise Lessore Powell, decorated many pieces, and sets, of Wedgwood ware, with exquisite designs painted in their sure, clear style. Ex- hibits by Doulton & Co. must be mentioned, and also the charming little modelled figures of Mrs. Phoebe Stabler.
Textiles and Wallpapers. The simplicity of house decoration of the present day is in marked contrast to the lavish use of patterns customary in the latter half of the igth century. It would appear, perhaps, that William Morris, the greatest pattern designer of our age, was himself an adventurer in the two extremes of taste ; his own use of the splendid woven and printed textiles and wallpapers that he designed with such apparent ease, set the fashion in one direction, whilst the ascetic cult of whitewash and plain linen seems also to derive from him. The extensive collection of Morris' textiles and wallpapers brought together at Paris included a number of his precious original drawings for these. Their beautiful drawing and colour and noble sense of design, made distressingly apparent the ignorant carelessness of what now passes for pattern designing in so many quarters. A number of designers of fabrics and wallpapers founded their work on well-tried principles. H. Dearie followed closely the tradition of Morris. The designs of C. F. A. Voysey showed pleasing originality, and those of Heywood Sumner the stamp of sound style. Metford Warner, first in the production of fine wallpapers, had also the distinction of being the first manu- facturer to attach to his wares the names of the many distinguished designers whom his taste discovered and employed. Allan F. Vigers was a careful observer of natural forms, which he treated with well-considered formality. Sidney Mawson is a bold and vig- orous draughtsman who leaned towards realism. Joseph M. Doran produced many well-planned, dignified designs. In sumptuous silks and velvets Sir Frank Warner worthily maintained the traditions of the " grand style " of the Venetians and Genoese. Luther Hooper, the historian of weaving, and a master of the intricate contrivances of the loom, was also a brilliant designer. Edmund Hunter produced a great number of distinctive stuffs, of his own design. E. W. Tris- tram, an excellent designer and draughtsman, and J. F. Flanagan wove interesting fabrics for hangings and upholstery purposes. The beautiful handwoven linens of Annie Garnett became well known; and Katherine Grasett wove fine stuffs of many kinds. Some tap- estries were produced at the workshop started by Morris at Merton, and new adventures in this art were undertaken elsewhere. In Paris and at the Royal Acad-my were seen the last work in pattern designing of Walter Crane, whose peculiar genius gave such charm to so many fabrics and wallpapers. In Louis Foreman Day (1845- 1910) was lost another designer whose work was well known to the last generation of decorators. His text books on various arts and crafts were the first of their kind, and ran through many editions.
Embroidery. In the particularly feminine art of embroidery many workers experimented in new directions. In one vein the em- broideries of May Morris and her fellow workers and pupils, recalling the designs of, or actually designed by, William Morris, Philip Webb (1831-1915) and others of a school that was preeminent in flowing patterns of large scale, have added splendour to many ex- hibitions during the decade 1910-20. Mrs. Newall, of Fisherton de la Mere, an embroiderer whose work is of another type, produced a
