International studio (14.1901)

Glasgow Exhibition

Merton by the late William Morris,

the art may be spoken of, at least

as regards this country, in the past

tense, but in the Women’s Section

there are fabrics sent from Germany

and Norway. Of these the most

important in point of size and design

is the oblong panel exhibited by

Miss Frida Hansen. Much technical

skill must have been required to pro- p

duce this fine textile, the difficulty

being greatly enhanced by the fact

that the whole composition is in

a subdued tone; the figures are

carefully drawn and well grouped.

SILVER CLASP

BY MISS ETHEL VIRTUE

design, although in process of execution it may
have been found necessary to depart from it widely
in many details.

The needlework exhibits are plentiful, and many
are remarkable for excellence of design and execu-
tion. Miss Anne Macbeth, a lady of many accom-
plishments, preserves all the best traditions of the
art of needlework, and her designs are well suited
for expression by the needle. Other pieces of
embroidery by Misses Lead better, Beveridge,
Rowat, and Mrs. Newbery, are worthy of examina-
tion on account of the qualities of the design, which
command the highest admiration for the skilful
arrangement of intricate lines, combined with
workmanship of rare excellence. Mrs. Alex. N.
Paterson also contributes panels notable for solidity
of sewing, but which could only lose in a black-
and-white reproduction.

Except for the revival of tapestry-weaving at

SUGAR BASIN BY MISS J. M. GILBERT

Miss Hansen’s work is evidently influenced by
traditions of old Norwegian tapestry.

A panel in stained glass by Miss Dorothy
Smyth is shown by transmuted light in the actual