But the life of the student at this school is no child's play. To quote from Mr. Butterfield's remarks in this magazine already referred to: "There is a grim earnestness about the way a Swiss craftsman is trained. He must have passed through the primary and professional schools before entering the School of Industrial Arts, and must be over fifteen years of age. He has thus had a good general education, and has had some training in elementary drawing, architecture, and manual occupation; but when he has selected a craft to work in, he must study several subjects which bear upon it from an artistic point of view. For instance, if a student wishes to become an enameller, which is a prominent craft in Geneva, he takes a live years' course of instruction, which includes, besides enamelling, drawing of architecture and ornament, historic ornament, flower painting, and drawing from life. The mornings are devoted to these latter subjects, and the afternoons to purely craft work. In order to get in all these classes, he has to begin work at six o'clock in the morning and go on until six o'clock in the evening, Saturdays included, with half an hour off for breakfast, and two hours off for lunch. One can well imagine that at the end of the course the student is something more than an enameller; he is an artist as well, and he has no difficulty whatever in finding employment, often as manager or foreman; or, he may commence business for himself, the training being looked upon by employers as infinitely better than apprenticeship in a workshop."

Cloisonne Enamel.

Cloisonne Enamel.

Executed by a Pupil of the Geneva School of Industrial Arts.

Painted (Limoges) Enamel.

Painted ("Limoges") Enamel.

Executed by a Pupil of the Geneva School of Industrial Arts.

For students who have passed through the school two kinds of certificates are offered: a certificate of capacity and the diploma of the school. For the certificate of capacity a student must have passed the fifth year's examination. He must further submit to the Committee of Surveillance the works he has executed while in the school, along with his note-books on the Art History Lectures. For the diploma a special set of rules concerning the work of the various departments is drawn up. Generally speaking, the candidate must already possess the certificate of capacity. He must further design and execute within three months the works specified in the programme for his particular branch of study. These works must be executed in a closed room, and, during hours set apart for work, no one except the custodian is allowed to communicate with him. When the candidate is not working, the room is locked up, and no one is allowed admission. On the first day of the examination the student must make a sketch drawing or model in plaster of the work he has to execute; this is photographed, and he is not permitted afterwards to depart from the general spirit of the original design. We will now deal with the exhibition itself, and will return later to details of the working methods of the school.

Plaque of Cloisonne Enamel (actual size).

Plaque of Cloisonne Enamel (actual size).

Executed by a Pupil of the Geneva School of Industrial Arts.

The exhibition included work submitted by pupils for promotion within the school, for the certificate of capacity, and for the diploma during 1904. This was arranged with a view to showing the grading of the work throughout the various years, and the systematic connection existing in the school teaching between design and modelling and the craft - in fact, between theory and practice. The exhibits included examples of work by students of the first, second, third, fourth, and fifth years.

Seldom has there been seen such a fine collection of modern enamelling. There were in all sixty-six plaques in cloisonne, translucent, and "Limoges" (i.e., painted), and it is hardly possible to speak too highly of them from the technical point of view. Especially excellent were the examples clone "en grisaille," which is apparently popular with the school. But it must not be supposed that the students are afraid of colour. On the contrary, their skilful treatment of it leaves little to be desired.

The grasshopper and dragon-fly decorations which we reproduce are splendid specimens of rich, harmonious treatment. In the background the copper has been covered with a transparent flux contrasting delightfully with the greens and blues of the insects. In the "bird and thistle" design the plants were executed in deep green tones, and the bird was gorgeously coloured; while there was an admirable suggestion of atmosphere in the blues and creams of the cloudy sky. The circular plaque, showing a girl against a bank of roses, was a remarkably cleverly managed piece of cloisonne

-work. There were two different treatments of i:his design, which had evidently been given out to the class, so that each pupil might select his own colouring. Some of the finest specimens we have been unable to photograph satisfactorily, the colouring being too delicate and the tones too

Plaque of Cloisonne


Executed by a Pupil of the Geneva School of Industrial Arts

Instructive Exhibition At Leeds Of The Work Of The 706Plaque of Cloisonne Enamel

Plaque of Cloisonne Enamel

Executed by a Pupil of the Geneva School of Industrial Arts subtly blended to reproduce in black and white. The enamelling class, it should be said, is under M. le Grand Roy, an artist of a high order of merit, who is best known for his Limoges work. In taking leave of this section of the exhibition, we cannot help expressing regret that so large a proportion of the examples is made up of copied designs, generally paintings.

We next come to two boards upon which sixty-one copper plaques were displayed, and the execution of some of them was really marvellous; but here again we must remark on the lack of originality in design. The work of the "Ciselure " class, as it is termed, is largely confined to making reduced or enlarged copies of casts and photographs, with the aid of compasses and cross-lined paper. It seems a great pity that such line technical skill as is exhibited should not oftener be employed on original designs. The class is the largest in point of numbers of any department in the school, and the most important in regard to the trade of Geneva; it is under the charge of Professor Jordelet. The silver repousse plaque of the man ploughing was done, in confinement, by

Repousse and Chased Copper Plaque

Designed and Executed by a Pupil of the Geneva School of Industrial Arts a student in his fifth year of study, to obtain the Diploma. The execution shows great artistic reserve. The lighting has been secured without apparent effort and in a manner really difficult to account for. The copper panel of a nude figure showed vigorous modelling for such slight relief; our reproduction suffers somewhat from the photograph having exaggerated the effect of the planishing. A clock in old silver and bronze was a wonderfully elaborate piece of workmanship, which it seems hard to believe was done by a pupil after, practically, an apprenticeship of only five years. (To be concluded.) A. F. P.

Instructive Exhibition At Leeds Of The Work Of The 708

"To be great, a work of art must satisfy two requisites - it must be outwardly attractive, thus showing that it has in it the purely aesthetic elements, and it must have the intellectual quality, an inner significance which illumines the form from within and feeds the mind even after the senses have been sated."

Failure should not discourage you. The painter does not live who did not fail many times before he succeeded. Let your failures only teach you "not to do it again," and you are safe.