Panel in Oak (16x 23 in). Adapted from a Design by George Jack. Carved by Harry Snowden.

Panel in Oak (16x 23 in). Adapted from a Design by George Jack. Carved by Harry Snowden.

The Clarion Handicraft Exhibition.

Third (Concluding) Notice.

OF all the various branches of craft-work shown at this exhibition, metal work was the most fully represented. It was surprising, however, to find so little for church use; in fact, we believe the excellent alms-dish in

Lock plate in Embossed and Pierced Copper By Beth Amoore

Lock-plate in Embossed and Pierced Copper By Beth Amoore

Shown at the Clarion Guild of Handicrafts Manchester hammered copper, designed by John Williams and executed by B. J. Colton, illustrated last month, was the sole example of the kind. It is extraordinary and discouraging that more craftsmen do not exert themselves to supply something better than the wretched machine-made stuff that is turned out by the average church furnishing firms. On the other hand, wrought metal work for domestic use seems in danger of being overdone. There were candlesticks, fire - irons, fenders, beakers, cigar-boxes, mirrors, post-boxes, rose-bowls, fire-screens, plate-warmers, chestnut-roasters, salvers, finger-plates, furniture fittings, chimney-piece canopies, flagons, candle sconces, dress buttons, toilet-sets, clocks, caskets - in fact, metal was put to every conceivable use. Of course, a reasonable use of metal in furnishing is agreeable from a decorative point of view, and a contrast of textures is always desirable; but with our furniture with its usually unduly extended hinges and plates, our electric fittings, lire-dogs, fenders, coal-scuttles, door-plates, and what not, there is scarcely much opportunity for its further employment without spoiling the whole effect, by making the room look either taudry by meretricious glitter, or harsh and cold. One good result, however, of this tendency of the (lav to exploit metal "for all it is worth" - if one may be pardoned the vulgarism of speech - is the marked improvement in the work itself, both in design and execution. Capital, for example, were two rose-bowls by Hugh Wallis, one in pewter and brass (illustrated last month), and one in copper and brass; a lock-plate and handle in embossed and pierced copper, by Miss Beth Amoore; a copper clock-lace enclosed in a simple but effective oak case, stained green; a bellpush in copper, and some delightful little repousse copper buttons, by J. P. Steele; a copper and enamel casket, by A. Crouch, a sound piece of work; and Agues F. E. Vyse sent a rosebud in wrought, hammered, and repousse silver, showing delicate and beautiful workmanship. The candlestick and the copper hinge which we illustrate, designed by M. R. Newey and executed by W. Jervis and J. Cole respectively, are from the really admirable exhibit by the Potteries Cripples' Guild.

Returning to the Needlework, we must not omit to mention two charming portieres, "Seagulls," designed by Mrs. Jack B. Yeats, and executed by Miss L. Yeats, and an applique portiere by G. May Shepherd, in which a Celtic design in pale green was wrought on a dark blue background. In conclusion, we must congratulate that indefatigable worker, Mrs. Julia Dawson, honorary secretary of the Clarion Guild, whose tireless and intelligent energy contributed in a large measure to the success of the exhibition. It is little understood how great are the difficulties connected with the organisation of a show of this kind, and it is on the organisation mainly that the result must depend. Praise is also due to Mrs. Dawson's two able helpers, but their modesty is such that they have asked that their identity may be not disclosed. A. F. P.