In response to our circular note of inquiry to art masters - " (a) Do you consider that the present National Competition is the most representative that could be devised of the work of the art schools of the Kingdom; (b) if not, how would you modify it in order to make it so ?" - we have received the following additional replies: -

"Unfair Assistance by Masters."

To the Editor of Arts & Crafts.

The letter which has most impressed me in the interesting correspondence in your magazine in regard to the National Competition is that from Mr. William H. Bond, of the Municipal School of Art, Brighton. He says truly that " in many cases the awards are gained solely by the fact of the master having been constantly at the student's shoulder." He might have gone further in regard to this unfair assistance by masters. He might have said with truth that in some cases the master is virtually the author of the prize winner's design. It is notorious that this was so in one of the awards at the last competition... For obvious reasons I cannot give the particulars for publication. I send them to you in confidence for your own information, and you can easily verify my statements. The winner of the award in question has got no little credit for his success, and for a time no doubt it will help him in business; but is it not scandalous that such a thing should be possible ? A Student.

[We would say that before the receipt of this letter, the information contained in it had already been communicated to us, in confidence, from an entirely independent source. - Ed. Arts & Crafts.]

Honourable Mentions Suggested.

To the Editor of Arts & Crafts.

Sir, - I think it would be an advantage in the National Art Competition if the Department instituted a system of awarding the distinction of "Honourable Mention" to those works which show great merit, but have not been successful in gaining a medal or prize; it would cost the Department nothing, while it might induce the students receiving this distinction to increased effort. - W. L., Poole.

" Not Quite the Most Representative."

To the Editor of Arts & Crafts.

Sir, - I Do Not Think That The Present System Of The National Competition Is Quite The Most Representative Of The Work Of The Art Schools Of The Kingdom, But I Am Not Prepared To Offer Any Suggestions For The Improvement Thereof

W. E. Bullmore, Sheffield.

More Awards Wanted.

To the Editor of Arts & Crafts.

Sir, - The Awards In The National Competition Should Be-More Numerous, So That Every Branch Of Work Done In The Schools Of Art May Be Recognised

Henry R. BabB, Head Master, School of Art, Princess Square, Plymouth, and of Municipal School of Art, Devonport.

To the Editor of Arts & Crafts.

Sir, - (A) I Consider That The Present System Of The National Competition Is Fairly Representative; (B) I Would Suggest That The Number Of Awards Be Increased, And That More Of The Elementary Work Be Shown

Chas. A. Eva, Chiswick.

To the Editor of Arts and Crafts.

(a) No, because the smaller schools, although in many cases submitting good work, are unrepresented. (b) Either to considerably increase the number of awards or judge the work of each school separately. - Eastbourne.

Drawing in Silver-Point.

F. S. asks for particulars "to enable him to provide himself with the materials requisite" for silver-point. The only materials are a silver-pointed stylus and almost any enamel-surfaced paper or cardboard. Professor Legros and other distinguished artists who employ this method of artistic expression prefer to prepare their own paper, which is done by washing over some good handmade paper a thin coating of Chinese white, and allowing it to dry thoroughly, of course, before drawing on it. Professor Legros fancies a gold-pointed stylus. Almost equally good results could be obtained with such an ordinary lead-pointed stylus as used to be sold with the old-fashioned sixpenny memorandum book. You will understand that success with this difficult medium depends wholly on the drawing. None but an accomplished draughtsman should attempt to express himself in "silver-point."

Miniature Painting. Milman writes: - "Are there any specially prepared colours used for miniature painting on ivory, as I find that in using the ordinary transparent water-colouis, one wash put over another takes out the first put on. Then, too, it is almost impossible to put in any fine touches owing to the blotting of the colour." - The finest procurable water-colours, in cakes, are used, with a little gum water as a medium. Your difficulty is due to using either too little or too much water in your brush. How to overcome it can only be learned from experience. A few lessons from a good teacher are almost indispensable. But next month Mr. Praga will begin a demonstration for the readers of this magazine. You doubtless can get some useful hints from these articles.

Carpet Designing.

Subscriber (Scarborough)

(1) A design prepared for a Brussels will serve equally for a Wilton. (2) In a five-frame design, never more than five colours on any one line in the direction of the length. (3) For filling, the width is invariably 27 inches. For borders the usual width is 18 inches, hut they may be 13, 18, or 22 1/2 inches. There should be 9 points to the inch in the length and 256 in the 27-inch width. (4) You might recast the design on the hint you received. The less repetition, the more costly it would be to produce.

S. F. (New Cross). - Brussels design paper contains about 85 points to the square inch. Ordinary Axminster usually ranges between 27 and 70 points.