it, the designer is free to give his own fancies full play, so far as considerations of price, and limitations imposed by method and material, will permit; that in it the value of broad effects in carving, inlay, and metallic enrichment is more fully appreciated than it was before the cultivation of this vein of thought ; and that, as a matter of fact, it is, to all intents and purposes, the "New Art" of the British furnisher — a " New Art," withal, which had its inception here long before " L'Art Nouveau " made its appearance in France.
The Arts and Crafts Society, however, must not be permitted to monopolise all the credit for the inception of this new movement ; for, even during the earlier years of that organisation, some furniture designers and manufacturers were working quietly towards the same goal, though they wTere not enrolled under the Morrisean banner, and would, most likely, not have been acknowledged as confrères by those who were. Indeed, they are not accorded that honour even yet ; but they manage to survive somehow. We must, however, accord the Society all the honour that is its due ; and hope that the day may not be far distant when it will throw down many of the barriers it has raised ; when its views may be broadened ; when many of its absurdities and mannerisms may be abjured ; and when it may become more thoroughly representative of British art and craftsmanship than it has been. Then, the good work it has already accomplished may be increased ten thousand-fold.
Although it is not my intention to illustrate much modern British work here, one or two examples demonstrating certain points raised will not be out of place. For instance, we have on Plate I. four pieces of furniture which the "Arts and Crafts " Society deemed worthy of being placed on view at one of their exhibitions at the New Gallery, held not so very long ago, and these will serve to justify some of my remarks with regard to that body's advocacy of severe sim-
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