Panel. Designed by P. H. Crossley and Carved by G. H. Ridgway.

Panel. Designed by P. H. Crossley and Carved by G. H. Ridgway.

Panel 2. Designed by P. H. Crossley and Carved by G. H. Ridgway.

Panel. Designed by P. H. Crossley and Carved by G. H. Ridgway.

The Exhibition Of The Clarion Guild At Manchester 500The Exhibition Of The Clarion Guild At Manchester 501Alms Dish in Hammered Copper. Designed by John Williams and

Executed by B. J. Colton.

Shown at the recent Exhibition of the Clarion Guild, at Manchester.

Wood-carving was, generally speaking, poorly

Sconce in Hammered Brass. By Dora Bell.

Sconce in Hammered Brass. By Dora Bell.

Shown at the recent Exhibition of the Clarion Guild, at Manchester.

The Exhibition Of The Clarion Guild At Manchester 504The Exhibition Of The Clarion Guild At Manchester 505The Exhibition Of The Clarion Guild At Manchester 506Door Furniture in Hammered Brass. By H. H. Stansfield.

Door Furniture in Hammered Brass. By H. H. Stansfield.

Binding in Blue Morocco Gold Tooled and Inlaid

Binding in Blue Morocco Gold Tooled and Inlaid

Designed and Tooled by W. Mellor

Binding in Green Morocco Inlaid Vellum Tooled in Colours and Gold

Designed and Tooled by W. Mellor represented; notable exceptions, some of which we reproduce, were floral panels designed by P. H. Crossley, and boldly executed by G. H. Ridgway, and some oak panelling by Muriel Muller, carved with consummate skill and delicacy. Several cleverly executed bindings were also shown by this lady. That very capable worker, Cecil Fabian, sent only a carved card table, which, though good, was not fully representative of his usually brilliant work. William Daniell, a well-known teacher in Liverpool, whose oak chair was well designed and skilfully executed, was also the designer of the carved oak library table we reproduce. The carving was the excellent work of A. Sandbach.

The Exhibition Of The Clarion Guild At Manchester 509The Exhibition Of The Clarion Guild At Manchester 510

" Peacock " Pattern Pottery. Designed by G. R. Rigby. Executed by Messrs. E. Brain & Co.

There was so much good metal work that it would be impossible to do justice to it by description in the limited space left at our disposal, so for the present our photographic illustrations of a few of the more notable pieces must suffice. We shall return to the subject.

A. F. P. (To be concluded.)

For pencil sketching, the best paper has a very slight grain. If glazed it does not take the pencil, and if very rough it is necessary to work on a large scale, in which case crayon or charcoal is usually preferable to lead-pencil. A slight tone is also desirable, even though no use should be made of white chalk or Chinese white in connection with the pencil. It is easier for the imagination or the memory to place the high lights than to define the leading tones, and the power to let the paper itself stand for one of these is not to be despised. A light bluish grey is the tint most often made use of by artists, as it may be allowed to stand for the most delicate tones in landscape, which are those of the distance. For sunlight effects, and especially for foreground studies, a pale creamy yellow is often found suitable; but for general use a very light gray that will just show up a chalk mark or a dash of Chinese white is best. The amateur should use these whites only for spots of intense light or for very white objects.

Distemper for Interior Decoration.

"IF the use of distemper was only half understood," once remarked the great scenic artist Telbin, "there would be many a house in England which would be beautified without the expensive intervention of the frescoer."

Household decoration by the medium of distemper is within the reach of everyone capable of using the brush with any degree of facility. The same talent which decorates a screen can decorate a wall. All that is necessary is to know how to set about it.

Distemper painting, as we know it in modern times, is painting with colours in which glue is the fixative. The scenic artist is a painter in distemper, pure and simple, and the same materials which are utilised by him for the production of his stage effects can be employed for the embellishment of a domestic interior. There is a brightness and freshness about distemper, properly applied, which oil colours lack. The characteristic of decoration in oil, indeed, is heaviness, and an unpleasantly lustrous surface. Against decoration in distemper no such objection lies. Distemper is, moreover, nearly as durable as oil - quite as durable, indeed, where the walls are dry. It is only by dampness that it can be affected or its beauties marred.

It has another advantage over decoration in oil which is by no means to be underrated. This is the speed with which it can be executed. Distemper dries quickly and without unpleasant smell; its methods of execution are simpler and its effects more readily produced. It can be used on almost any material, from silk down to wood, and the cheapest cotton or paper. No particular preparation is necessary for it, and the work once begun can be pushed steadily to a conclusion without wasting days tor the colour to set.

Distemper decorations can be painted on any clean plastered wall, after an application of size. If, however, you use Tudor's distemper colours - and there are none better to be found - no sizing or any other preparation of the wall is necessary. Before beginning to colour a wall in a new house, however, a builder's opinion must be taken as to whether it is dry enough to receive and retain the colours. A brick wall well covered with plaster is the best surface, and where the white of the plaster is retained as the ground colour, no further preparation is needed. In all cases time must In-allowed to elapse between building and decorating. If an old wall is to be covered, the paper or muslin should be glued to the wall or to a frame, and given a preparatory priming, as for the painting of a scene. The colours are mixed as in scene painting; the tools to be used are the same. In interior decoration, however, where a finer finish is required than for the broad and simple effects of the stage, the larger and heavier brushes can be dispensed with, except for the covering of the walls with the foundation tints.

In distemper decoration on silk, now frequent, the silk has merely to be glued to the wall, and painted over without priming. Flowers and figures in distemper on silks of dark colours give superb effects. The commonest varieties of silk are available for the purpose, and for friezes which are adorned with running decoration of any kind, no material is better adapted.

A scenic artist known to the writer has decorated his flat in distemper after a fashion unique and eminently successful. On the wall of an ordinary long and narrow "parlour," he had a stout oaken bead strip firmly fixed about 18 inches from the ceiling. This serves at once as a picture-rod and a finish for the frieze. Waist-high from the floor, another oaken strip marks the top of the dado and furnishes a ledge to rest his pictures on. The strip between the upper rod and the cornice is filled in with old-gold silk, the room being a dark one, lighted only by two tall and narrow front windows. On this is painted a design of cupids, with a free touch and in delicate tints, the figures being taken from designs by Boucher. The wall he covered with plain muslin, laid in in a buff gray, in a flat mass. He tilled the dado with canvas, painted in imitation of uncoloured oak, and relieved by plain panels. The ceiling he coloured to match the wall in tint, and the door and window frames are painted in keeping with the dado. It is only on these latter that oil colour has been used. No words could adequately describe the lightness and airiness this decoration has given to a dark and commonplace room. As the artist himself puts it, the best evidence of its success is afforded by the fact that his landlord, on discovering how the parlour had improved the flat, promptly raised the rent. "If 1 had decorated the whole house," says the tenant, "he would have turned me out and moved in himself."

The manner of drawing and painting decorations in distemper is in all respects similar to that employed in scenic painting. The design must be secured beforehand, the outline carefully made, and the work proceeded with with the same attention to cleanliness and accuracy. By the use of the pounce pattern, agreeable symmetry may be secured in the designs. Gilding may be applied in the same way as in scenic painting.

Alfred Turn-bull.

We would point out to our correspondent, "T. B. F.," that he is mistaken in supposing that "Persian patterns are based entirely upon geometrical forms." Of course, there is the Mohammedan - or rather the Mosaic - prohibition against the representation of "graven images," but by many of the old Persian artists it may be said to have been more honoured in the breach than in the observance. Sometimes there was a compromise, as in some Persian brasses, at the Victoria and Albert Museum, covered with human figures with the spaces for the features left blank.