Of less unusual modern productions which the French include under the heading "L'Art Nouveau," I might illustrate many, but they would be simply adaptations, if not actual copies, of English "Quaint" designs such as I have dealt with in another chapter; for the French, in their anxiety to get away from their own time-honoured modes, have cast more than a passing glance at the work of the British designer, and have not hesitated to take many a leaf out of his book. We surely can offer no objection to their doing so, when we call to mind what we owe to them for inspiration afforded in the past.

There remains one more feature of this "New Art" upon which I must touch before leaving the subject; the innovations brought about in the matter of colouring. In this as in other directions long-accepted notions have been utterly upset, and colours which it was once generally supposed could never possibly be made to harmonise are now brought into juxtaposition with a result altogether charming.

"New Art" (Austrian). IX.Plate 96

Reference in Text. See pages 310, 311

Yellows, greens, pinks, mauves, magentas, and other colours quite impossible to describe, but the very mention of which in combination almost takes the breath away, are employed together in such subtle gradations and shades, and in so skilful a manner, that we involuntarily exclaim: "Why were these delightful schemes never thought of before?" - for delightful many of them are without a doubt.

New Art Detail on a Louis-Quinzr Form (French) (See page 308 for reference)

It is not possible for me to deal at any length with the development of the movement in continental countries other than France, but it will not do, nevertheless, to ignore altogether what is taking place in Germany and Austria in this connection. On Plates VII. to X., therefore, appear schemes, hailing from both countries, which may be regarded as fairly characteristic. In Germany, quite a number of the leaders of the new school - the "Moderne Stil" as it is called - are cultivating a "stringy," interlaced, entangled class of "ornament," such as that indicated on Plate VII., and by the sketch on next page; but a greater degree of refinement and restraint is displayed in schemes of the character that pervades Plate VIII. As for the two Austrian studies, that on Plate IX. has rather the attenuated "stringy " failing again; but the corner on Plate X. is as simple and unpretentious as one could well desire, and, save for one or two scraps of "New Art" enrichment here and there, might be a rendering of our own 'Quaint."

A New Art Atrocity (French) (See page 308 for reference)

"New Art" (Austrian). X. Plate 97

Reference in Text. See pages 310, 311

New Art Surface Decoration of the Wiry Type (German) (See page 310 for reference)

But I must not be tempted to discuss the " New Art" further, save to recognise again the greatness of the work which the apostles of the cult have accomplished. Notwithstanding the many extravagances and absurdities with which they are to be credited, they have induced decorative artists the world over to think more for themselves, and rely less on their knowledge of traditional "styles." In fact they have persuaded them to use their own brains instead of perpetually copying, adapting, and re-rendering the results of the brain-work of others. The total gain of all this, in the long run, must be altogether incalculable; so cannot we afford to forget the follies, great as they are, by which its inception has been attended?