Alabaster, Annie plate 48 Alabaster, M. " 34 Allen, Kate plates 19, 29, 31, 33, 38 Angus, Christine plate 12 Arscott, A. E. " 29 Ashbee, C. R. plates 17, 18, 20, 21 Baker, Oliver " 35, 36 Barrie, B. J. " 19, 31, 34 Brangwyn, Frank plate 8 Brown, E. May " 29 Cook, Thomas A. plates 15, 24 Conder, Frank plates 2, 5, 6, 7 Dawson, Nelson plate 14 Dawson, Edith " 14 Dick, Reginald T. plate 1 Evers-Swindell, Nora plates 34, 50, 52 Fell, H. Granville plate 11 Fisher, Kate plates 25, 37 Gaskin, Arthur J. " 44, 45 Guild of Handicraft plates 17, 18, 20, 21 Hammett, Lydia C. plate 9 Hart, Dorothy " 34 Hodgkinson, Ethel M. plates 39, 50, 52 Hodgkinson, Winifred plates 29, 30, 39, 52 King, Jessie M. plate 16 Larcombe, Ethel plates 10, 34 McBean, Isabel " 29, 47 Mackintosh, C. R. plate 43 Mackintosh, Margaret Macdonald plate 43 McLeish, Annie plates 28, 29, 32, 34, 39, 50 McLeish, Minnie plates 34, 47 McNair, Frances " 21, 22, 42 McNair, J. H. " 22, 23 Morris, Talwin " 40, 41, 42 Naylor, Myra " 3, 4 Pickett, Edith " 25, 49 Rankin, Arabella " 51 Robinson, F. S. " 46 Simpson, Edgar " 26, 27, 36 Syrett, Nellie " 13, 15 Talbot, J. M. plate 51 Veazey, David plates 19, 34, 39, 48, 50
Fischmeister, Herr plates 2, 3 Gringold, Emil plate 7 Hauptmann, Franz " 4 Hofstetter, Josef plates 1, 5 Holzinger, E. plate 8 Mesmer, F. plates 1, 8 Prutscher, Otto plates 1, 5, 6 Roset, Herr " 2, 3 Schönthoner, V. plate 1 Schwartz, Prof. " 5 Unger, Elsa plates 7, 8 Wagner, Anna plate 8
Fahrner, Theodor plates 3, 8 Gosen, Theodor von plate 5 Hirzel, H. R. C. " 4 Koch, Robert " 1 Loewenthal, D. and M. plates 2, 3, 8 Möhring, Bruno plate 6 Morawe, C. Ferdinand plate 7 Olbrich, Joseph M. plates 2, 3, 8 "Vereingte Werkstaetten, Munich," plate 5 Werner, F. H. " 6 Werner, Louis " 4
Cassiers, H. plate 1 Dubois, Paul " 9 Van Strydonck, L. plate 2 Wolfers, Ph. plates 3, 4, 5, 6, 7, 8
Bindesböll, Th. plate 8 Bollin, Moyens plates 6, 7, 8 Magnussen, Erick plates 2, 5, 6 Slott-Möller, H. plates 1, 2, 3, 4
MODERN FRENCH JEWELLERY & FANS. BY GABRIEL MOUREY.
French superiority in the art of jewellery seems to be incontestable to-day. No unbiased observer will deny the fact that with us there is more richness, more variety, more originality than can be found elsewhere; and the jewellery section in the Esplanade des Invalides at the Exhibition of 1900 showed to the whole world the progress made in this special branch of applied art by our craftsmen and our artists; showed, too, the verve, the imagination, the fancifulness, which are the special property of the French race in all that relates to articles of luxury, to those things which are essentially "useless," if so we may term a woman's adornments; if so we may regard the beauty of precious stones, of enamels skilfully and subtly formed--of all that, in a word, which, taken from Nature's infinite treasure-house, serves to constitute that adorably vain, that exquisitely superfluous thing--the jewel. Ruskin once remarked, in his strange, penetrating way, that the loveliest things are those which are the least useful--lilies and peacocks' feathers, for instance. Furthermore, to depreciate the part played by jewellery in relation to decorative art would be equivalent to minimising the rôle of womankind in civilisation. Then, again, as regards decoration or adornment, has not the highest mission devolved on woman? Has she not had to assume the most active part in it all? The modern jewellery vogue has, I am convinced, done more in France to propagate new ideas in the way of decorative art than all the æsthetic theories ever evolved, however sound.