These columns are free to all. It is only required that (I) questions dealing with different topics be written on separate sheets of paper with the writer's name and address on the back of each, and that (2) stamps accompany all pictures, drawings, prints, etc, to be returned. All correspondence should be addressed to the Editor of Arts and Crafts, 37 & 38, Strand, London.

Mss. and Designs Accepted. - "Proserpine," A. T., "Subscriber" (Maidstone).

Under Consideration

S. B., Propert, "Cornflower," B. J. T., G. W.


S. T. J., "Miniature Painter," B. S. S., "A Canadian Reader," S. S.J.," Subscriber " (Hastings), H. H. N., P. F. O.

An Interesting Outcome of the Berne Congress.

Editor of Arts & Crafts.

Dear Sir, - I am anxious to bring under your notice our new Association, which may interest you, and whose aims and constitution are defined in the enclosed.

The Association is the direct outcome of last year's International Congress on Drawing, held in Berne, 1904. There were present 800 delegates, representing twenty-one countries, from all parts of the world. The first Congress was in Paris, 1900.

At our London one in 1908 we hope to have the whole of the British Empire represented - not just England. Hence we hope to break the ground, by means of our Association, in this direction.

If the Association appeals to you - and we should greatly value your aid and influence - I trust you will see your way clear not only to show us your sympathy, but also to join, in order, that there may be a link of intercommunication between your valuable periodical and the Association. The Association has the good wishes of the Secretary of State for the Colonies and other leading gentlemen. We hope to get members in all the British Colonies. It would give the Association the greatest satisfaction if you could give some slight notice of its formation in the pages of your important art periodical.

I am, dear Sir, yours faithfully,

J. W. Topham VlNall, Hon. Sec.

British and American Mutual Correspondence Association.

The Neglect of Ceramic Art.

Editor of Arts & Crafts.

Sir, - I have been struck by the poverty of ceramics at the various arts and crafts exhibitions held in this country. The same applies to the literature - at any rate the portion dealing with the craft and technique of pottery. The Continental nations are far ahead of us in this respect, and even America has shows of excellent work in pottery by amateurs, who solve successfully such ceramic problems as " rouge flambe " and crystalline glazes. Many capable designers in England are deterred from working in this fascinating medium because they are conscious of technical difficulties which they have no ready means of surmounting. Chief of these is the "baking" or "firing." This in America is not felt, because there are so many " caulkins " and other kilns and muffles on the market, at prices easily within the reach of anyone who. seriously takes up the craft.

Frederick A. Rhead.

Newcastle, Staffs.

Demonstration Lessons in Oil Painting.

Editor of Arts & Crafts.

Dear Sir, - I am writing to ask if it will be convenient for you to give some demonstration lessons in oil painting in your magazine on the same or similar lines to the instructive-article (or demonstration lesson, I suppose, is a better term) on miniature painting by Mr. Praga ? I am sure they would be very helpful to many students besides myself, and would be generally appreciated. I am somewhat of a beginner in drawing and painting, especially the latter. I study at the * * *, and because I am only able to attend the evening classes, please do not assume that I am not studying seriously, or just go there to mess about, for want of something better to do. Many artists think because a student is not a professional student he is not worth bothering much about. No doubt this applies to a number of amateurs, but not to my case. I do not know if I am altogether pleased with the instruction I get at the and I should feel greatly obliged if you can tell me of a really good school (where they have evening lessons) where I could learn oil painting on a thoroughly sound system. I am told the Lambeth School is the best one in London. Can you recommend it ? I could get some private lessons from an artist - he used to be Her-komer's favourite pupil. A friend tells me it would be nearly as good as going to Herkomer himself. Would you recommend private lessons in preference to going to a school ?

W. S. (1) The question of giving such demonstration lessons as you suggest has long been under consideration. The chief difficulty lies in giving in monochrome such illustrations as would be adequate for the purpose, and we are not prepared yet to give coloured plates. (2) We do not know any "really good school where they have evening classes for oil painting." (3) The Lambeth School in many respects is excellent. (4) You would probably learn most from private lessons if you had a good teacher. (5) The distinguished artist whose name yon mention in your postscript (which we omit) is too old and infirm now to engage in such work.

The New " Punto Tagliato." of Arts & Crafts. Sir, - With regard to your review last month on the New Lace Embroidery (Punto Tagliato), I must object to the remark, "She does not claim literally that Punto Tagliato is new - that is evident from her adoption of the old Italian name as the sub-title of her book," as being very misleading. This New Punto Tagliato Embroidery of mine is entirely original, and promises to be one of the novelties in exquisite embroideries of the age - bearing no resemblance, except in name, to the old Punto Tagliato, a name which, by the way, in Italy is applied to cut drawn thread work and all kinds of open embroidery. Louisa A. Tubus.

Tube Whites for Oil Painting. "Artist" (Brighton). - The specimen of German tube white for oil painting which you send for our opinion seems of excellent quality, but the colour is ground so fine that its body is sacrificed in the preparation Still, for one who likes a thin and readily manipulated white, nothing could be better, especially for painting small pictures, with sable brushes. For Strong, hold work with bristle brushes, we would prefer the sample of English make you send; for fine work you could use it diluted. So far as permanence is concerned, there is no choice between them. Both will "yellow " slightly, but neither will change enough to do any harm.

How to Paint on Leather.

J. P. - Draw your design first in chalk, then give the leather a coating of thin size made of good glue and hot water. Paint over it in oil colours mixed with a little gold size, and wash off the size when the colours are dry. II you paint on unsized leather it will absorb and deaden the colours unless you use varnish with them, and the varnish eventually causes the colours to crack, though they look brilliant at the start. Magnificent screens can be made by painting over Japanese leather paper prepared with a size and varnished alter all is done instead of having the size washed off.

How to Make a Lay Figure.

Editor of Arts & Crafts.

Sir, - Can you tell me of a book on how to make a lav figure, or a book in which there is an article on the same ?

C. E. F.

Perhaps one of our readers can give our correspondent the information he seeks

Posing Flowers for Painting. "Silver" and "Gold." - We hardly care to give such hard and fast rules as you seem to expect. Undoubtedly, however, there are certain general principles of design bearing on the subject, which you would do well to keep in mind. For example, a few of your flowers may be grouped closely where the strongest light is to be concentrated, some may be massed with the leaves on the shaded side, one or more may be allowed to fall low and almost at right angles with those that are above, and a specimen that is not of the largest - partly blown, say - may rise higher than all the others. This last, as well as those detached below, will take away from the bulky appearance of the central mass, without at all diverting its light and shade.

The Village Carving Class.

Editor of Arts & Crafts.


As a subscriber to Arts & Crafts, I wish to acknowledge the great assistance afforded by it to our village carving class for lads. I enclose photograph of carved oak panel in a hall box-bench, for which an order was obtained by the class, and you will notice that the design is taken from your magazine with only such modifications as the material required.

A. B. Cotton.

The Grange, Shipbourne, Tonbridge.

[From the photograph, reproduced herewith, it will be seen that the adaptation - a legitimate one - is from the stencilled frieze by James A. Found (Hull School of Art), awarded a bronze medal at the National Competitions last year. - Editor, A. & C] ______

Mr. Fisher's Articles on Enamelling. Harrison, M. - Mr. Alexander Fisher's articles describing "The Technical Process of Enamelling on Metals" were published in the June, August, September, October and November issues of Arts & Crafts. The numbers of the magazine in which they appeared may still be had.