The exhibition now in progress at the City Art Gallery is replete with encouragement for those who take a hopeful view of our art industries. Coming away from it, one wonders at the pessimism of Mr. Binns, of the Royal Worcester Works, whose jeremiad in the Morning Post has been widely quoted. It is true that there is nothing in the exhibition from that famous factory, with the more recent output of which we do not happen to be familiar. But of the old pottery firms, Messrs. Doulton & Co. make a highly creditable display, while Pilkington & Co. and the Delia Robbia Pottery Co. show much that is beautiful in form, decoration and glaze. Messrs. W. C. Gibson & Co., of Scotswood-on-Tyne, show with pride their "Adamesk Art Ware," which takes its name, not from the somewhat primitive character of the ware, but from Mr. M. J. Adams, its ingenious designer. The palm for the display of ceramic art, however, we have no hesitation in saying must be awarded to Mr. W. Howson Taylor, whose case of "Ruskin Pottery" is simply a revelation to one unfamiliar with the products of the factory; it would win him distinction at any exhibition in any country. Nowhere, aside from the products of China and Japan, is the exhibit to be surpassed for elegance of forms, refinement of colouring, or purity of glaze. The Havilands,of Limoges, are. we fancy, the only other European potters who have attempted with any measure of success to reproduce the wonderful old Chinese "Fambe" and "souffle" effects. In the former instance, especially in their rich specimens of "sang-de-bceuf," it is true they have surpassed the efforts of the Ruskin Potteries in the same direction; but Mr. Taylor, with his exquisite souffles of robin's egg blue - note particularly the two-handled vase, No. 678 - we believe is unapproached in the western world.

But the point on which we would lay stress is that, while the Haviland successes in reproducing the wonders of the old Chinese potteries have been manifested only in certain show pieces, priced beyond the purses of any but the very rich, the Ruskin ware, apparently, is made for the every-day householder, and is sold at prices which seem rather below than above those of the meretricious products of certain older English potteries, which, in the interests of good taste, it is to be hoped they may soon supplant. Let the reader who visits the exhibition note, for instance: No. 650, an old blue bowl with the effect of ancient cloisonne; the bowl, No. 661, of an exquisite colour somewhere between rose du Barri and the colour that American collectors of Chinese porcelain call "peach-blow"; the little celadon inkpot, No. 663; the peacock blue tea bottle, No. 672; the nest of egg cups, with stand, No. 679. These range in price from three to five shillings, and each article is perfect in form, colour and glaze. There are porcelain buttons, too, for ladies' dress at threepence apiece, so beautiful in their way that we hear of metal workers inserting them in their caskets and goblets instead of the more costly enamel. There are a few particularly fine show pieces in the case that run to two to three pounds, but this is the outside figure. In view of such an exhibit as this of what can be done towards popularising ceramic art in the home, we would ask Mr. Binns and other pessimists to cheer up. We are inclined to believe that this is only the beginning of the better state of things that is destined to prevail soon throughout our domestic manufactures.

Modelled Clock Case. Book Prize.

The National Art Competition, 1904. Modelled Clock Case. Book Prize.

By Henry Green, of the West Bromwich School of Art. To be executed in Metal.

The National Art Competition, 1904. Bronze Medal. Design For A Leather Book Cover Embossed In Gold.

By John Campbell, School Of Art, Belfast.

Design For A Leather Book Cover Embossed In Gold

In cabinet work, the display of Messrs. Heal & Sons easily dominates that section. After the close of the Leicester Exhibition, Mr. Jack's fine large inlaid secretaire, noticed on another page, arrived from the display of Messrs. Morris & Co. in that city, and it now occupies a commanding position in the South Room of the Galleries. It is in striking contrast with the chaste and simple furniture designed by Mr. Ambrose Heal, jun., but the latter does not suffer by comparison. If the austerity of its lines are, on the one hand, emphasized by the juxtaposition of so florid a neighbour, on the other hand the latter in its isolation stands out as a veritable grammar of ornament, such is the prodigality of its decoration, which leaves no oasis of plain surface to afford rest to the eye. In these preliminary remarks it is not possible to speak in detail of the Heal exhibit, but we hope to do it justice in the profusely illustrated notice that is to follow. A beautiful oak sideboard, exhibited and designed by Mr. Joseph Armitage, should then also receive more than this passing reference.

First Notice 391

There was a splendid show of wrought iron work-by Mr. Nelson Dawson, of pewter by Messrs. Liberty & Co., while, rivalling in importance the ceramic display, was that of jewellery and silver work, in which these same names were again prominent. In silver work, among the chief exhibitors were Messrs. Liberty & Co., the Guild of Handicraft, and Mr. Montague Fordham. In jewellery and enamel work the exhibitors were very numerous, including Messrs. Jesson, Birkett & Co., Liberty & Co., Alexander Fisher, John Williams, Barraclough & Sons, Mr. and Mrs. Gaskin, Bernard Cuzner, James Dewdney, Frederick Braddon, Fred. W. Pomeroy, A. S. Hagyard, Bromsgrove Guild of Applied Arts, Guild of Handicraft, Mr. and Mrs. Nelson Dawson, Miss Elinor Halle, Mrs. Philip Hensley, Mrs. F. R. Russell, Mrs. Agnes Thompson Hill, Miss Meta Napier-Brown, Miss Maude Partridge, Miss L. Fen-wick, Mrs. Bethune, Miss E. Gertrude Cockburn, Mrs. and Miss Peskett, Miss Wintour, Miss Edith A. J. Wright, Miss Mary E. Williams, Miss Edith Mary Hendy, Miss Emilv Arthur, Miss Agnes Pool,

Designs for Cotton Prints

Designs for



No. 1. Based on Lavender.

No. 2.

Spider & Web and Heather.

National Art Competition, 1904. Book Prize To Walter Potts, Of The Hyde School Of Art

Designs for Cotton Prints 2

Designs for Cotton Prints.

No. 3. Based on Mistletoe.

No. 4. Based on Fuchsia.

National Art Competition, 1904. Book Prize To Walter Potts, Of The Hyde School Of Art

National Art

National Art Competition, 1904. Book Prize. Designs for Cotton Prints, by Walter Potts, of The Hyde School of Art.

Mrs. Reginald Hurst, Miss Gladys S. Falcke, Miss Ethel Virtue.

The interesting display of bookbinding was dominated by the masterly work of Messrs, Sangorski and Sutcliffe. There was some good wood carving, but little leather work, and not a remarkable show of embroidery or lace. A large and representative exhibit was made by the Leeds School of Art, but detailed description of this, and other matters, must be deferred for the present.

M. M. (To be concluded.)