Price id. 
 
 WHITEGHAPEL 
 ART GALLERY 
 
 HOUSE & HOME EXHIBITION 
 
 May 31 to July 9, 191 1 
 
 13 noon to 9.30 p.m. 
 
Committee* 
 
 Af fainted by 
 the Trustees 
 
 Rev. Canon Barnett, 
 Mrs. Barnett. 
 
 Mr. William C. Johnson, j.p., l.c.c. 
 Mr. W.M. Blyth. 
 
 Mr. Charles Aitken. 
 Mr. Cecil C. Brewer. 
 Mr. Michael Bunney. 
 Miss L. J. Clarke. 
 Mrs. Cox. 
 
 Mr. Stanley T. Drew. 
 Miss F. H. Durham. 
 Miss A. M. Finlay. 
 Mr. Owen Fleming. 
 Mr. J. H. Gill. 
 Mr. Ernest Gimson. 
 Miss C. R. Gordon. 
 Mr. G. Gummer. 
 Mr. Ambrose Heal. 
 Mr. Basil Holmes. 
 Mr. Henry Holloway. 
 Mr. J. C. Hudson. 
 Hon. Gilbert Johnstone. 
 Miss Susan Lawrence. 
 Mrs. Leon. 
 Prof. W. R. Lethaby, 
 
 F.R.I.B.A. 
 
 Mr. T. Alwyn Lloyd. 
 Mr. Geoffrey Lucas, 
 
 A.R.I.B.A. 
 
 MlSS LUMSDEN. 
 
 Miss E. A. Meadows. 
 Mrs. Millington. 
 Mr. Hugh Morgan. 
 Sir Edward O'Malley. 
 Mr. Lionel Pearson. 
 Prof. Beresford Pite, 
 
 F.R.I.B.A. 
 
 Miss Plowright. 
 Mr. Gerald Ritchie. 
 Mr. Joseph Rowntree. 
 Mr. M. H. Baillie Scott. 
 
 Mrs. DUKINFIELD SCOTT. 
 
 Mr. C. Spooner. 
 
 Mrs. Spooner. 
 
 Mr. R. M. Taylor. 
 
 Mr. F. W. Troup, f.r.i.b.a. 
 
 Mr. H. E. Turner. 
 
 Mr. Henry Vivian. 
 
 Mr. C. P. Wade. 
 
 Mr. H. A. Welch. 
 
 Mr. P. A. Wells. 
 
 Mr. C. C. Winmill. 
 
 Mr. Gilbert Ramsay, Acting Director. 
 Mr. C. Campbell Ross, Secretary. 
 
IMPORTANT NOTICE. 
 
 In going through the Lower Gallery you 
 are asked to follow the numbering of the 
 Catalogue, keeping first to the right along 
 the building materials aisle, and round the 
 walls of the Gallery before entering the 
 front door of model house in centre. The 
 back door of the house is for EXIT ONLY. 
 
 The expenses of this Exhibition have 
 been exceptionally heavy, owing to the 
 amount of structural work necessary. 
 Visitors are asked to place Contributions 
 in the boxes, or to send subscriptions or 
 donations to the Secretary, Mr. C. Campbell 
 Ross, at the Gallery. 
 
 Some of the Exhibits are for sale, a list 
 may be seen on application at the Turnstile. 
 
WHITECHAPEL ART GALLERY, 
 
 HIGH STREET,' WHITECHAPEL. 
 
 HOUSE AND HOME 
 EXHIBITION, 191 1. 
 
 PREFACE. 
 
 At the present time housing and the various problems con- 
 nected with it are among the most pressing questions of the 
 day, and both to the economic and aesthetic sides of these 
 questions new answers must be sought and new solutions 
 found. 
 
 During the immense increase of industrial activity in the 
 nineteenth century, when Britain made enormous strides as 
 a manufacturing country, and wealth and luxury increased 
 accordingly, there was no corresponding improvement in the 
 housing of the people and the "traditional art 55 that had 
 made almost every English town and village full of the 
 beauty that comes from good proportion and good material 
 rightly used, gave way to the violent negation of all beauty 
 that we now see at every turn in our streets. Traditional 
 art has almost entirely disappeared, and it has been said 
 that the only vestiges of it that appear in our houses are 
 seen in the decorations that good housewives put upon 
 pie-crust or mark with chalk upon their front door steps. 
 
 It must not be thought that we mean that the old houses 
 were ornamental and the new are not. Anyone who will 
 compare new houses with old, say in Hampstead or Chis- 
 wick, will see that the ugliness of the newer houses consists 
 very largely of the repetition of mechanical ornament. 
 The same holds true of furniture. The ugliness of modern 
 cheap furnishings is not due to their cheapness but to the 
 fact that they attempt to ape the appearance of costly and 
 elaborate articles. 
 
3 
 
 There are signs that the worst period is over, and that in 
 the three departments of town development, housing and 
 furnishing, a change for the better has strongly begun. 
 
 Town planning schemes are being promoted in manv 
 towns, and it is to be hoped that, owing to more seemly 
 arrangements of streets and the diminution of the curse of 
 coal smoke, our towns may cease to be the ugly blotches they 
 now are, and that their inhabitants may be assured of a 
 brighter and healthier existence. 
 
 Much good work has been done in the replacing of in- 
 sanitary areas by model dwellings. Those built by the 
 London County Council at Millbank and elsewhere show 
 excellent examples of good arrangement and design. 
 
 In domestic architecture a tendency towards better work 
 may be noticed. In the design of small houses it is being 
 recognised that cheap imitations of Gothic carving are out 
 of place and that good proportion and pleasing materials 
 are all-important, and in furniture, too, a reversion to older 
 and simpler types has begun to be apparent. 
 
 Yet though there has been much important work done in 
 these ways it is almost as nothing compared with what re- 
 mains to fee done. The intelligent interest that is taken in 
 the improvement of towns, houses, and furniture is almost 
 confined to members of public bodies and of the various 
 professions connected with these matters. The British 
 public has shown in regard to these subjects its usual easy- 
 going tendency to take things as it finds them. 
 
 It is the object of this exhibition to promote in us an 
 intelligent interest in the material surrounding of our life 
 and an intelligently critical impatience of much of that 
 surrounding, and to show suggestions how it might be im- 
 proved. 
 
 It should be clearly understood that no claim is made that 
 the arrangements shown are ideal. Ideals exist solely in 
 the mind, and can never be realised, so an " Ideal Home '* 
 exhibition is not possible. Any really authoritative ex- 
 position of the best sorts of houses to live in and the best 
 sorts of furnishings would be a very costly affair, and would 
 involve the invention and making of a very large number of 
 special exhibits, and could only be done adequately by some 
 body with much greater financial resources than are at the 
 disoosal of this Gallery. 
 
 Separate explanations of the purpose of 'the various parts 
 of the present exhibition will be found further on. The 
 two lower galleries are devoted to the vexed questions of 
 the application of commonsense and good taste to modern 
 housing, and the Upper Gallery shows " Homes of -the 
 Past" by means of bays furnished to show interiors of 
 various periods and by water-colours and photographs. 
 
catalogue. 
 
 LOWER GALLERY. 
 
 1 Model of the Garden Suburb of Hellerau, near 
 
 Dresden 
 
 Lent by Gartenstadt, Hellerau 
 The garden suburb of Hellerau is situated about 2^ miles 
 from the centre of Dresden. The preliminary work was 
 started in 1906, and building operations in spring, 1909. 
 By October, 1910, about 160 self-contained houses were built 
 and occupied. The area of the land is 350 acres, and it 
 stands about 300 feet higher than Dresden. The prevailing 
 wind is from the west, that is, towards the city rather than 
 from it. This ensures good air. The general plan was 
 made by Professor Riemerschmid, of Munich. The 
 suburb is divided into two portions, one for cottages and 
 one for larger houses. The financial arrangements are 
 such that all speculation is impossible, and all profits over 
 4 per cent, go to the general good. 
 
 2 Garden Vase ' 
 
 Lent by Messrs. Liberty 
 
 3 Combination Range 
 
 Lent by Messrs. Thos. Elsley, Ltd. 
 
 4 " Burkone " Fire and Cast-iron Mantel 
 Lent by The Standard Range & Foundry Co. 
 
 5 Cast-iron Fireplace 
 Designed by Longden & Co. 
 Lent by The Carron Company 
 
 The mantel-pieces in cast-iron and tile on each side of the 
 entrance have been chosen to show that there is no lack of 
 well-designed chimney-pieces at moderate prices on the 
 market at the present time. The fireplace is the most im- 
 portant part of a room. Yet its design has been too often 
 a matter of chance, and unsuitable ornament in iron, wood, 
 and stucco has been almost universal in recent years. But 
 just as there is an improvement now in domestic architecture 
 there are signs that the manufacturers of the present day 
 are willing to meet this by the application of good design 
 tfb the domestic fireplace. 
 
 6 Cast-iron Fireplace 
 
 Designed by Longden & Co. 
 Lent by The Carron Company 
 
Lower Gallery 
 
 5 
 
 7? Tile Fireplace and Wood Mantel 
 Lent by The Well Fire Company 
 
 8 Tile Fireplace 
 
 Lent by Messrs. Bratt, Colbran & Co. 
 
 9 Exhibit by The Coal Smoke Abatement Society 
 Lent by The Coal Smoke Abatement Society 
 
 to Illustrations of Garden Suburb of Hellerau, 
 near Dresden 
 
 (See Model, No. i) 
 Lent by Gartenstadt, Hellerau 
 
 ii Garden Vase 
 
 Lent by Messrs. Liberty 
 
 i 2 Lithograph 
 
 Lent by Messrs. Asher 
 
 13 Kitchen Range 
 Designed by C. F. A. Voysey 
 
 Mad? and lent by Messrs. Thos. Elsley, Ltd. 
 
 14 Lithograph 
 
 Lent by Messrs. Asher 
 
 15 Garden Vase 
 
 Lent by Messrs. Liberty 
 
 16 Lithograph 
 
 Lent by Messrs. Asher 
 
 17 " Frazzi " Partition Wall with smooth surface 
 Lent by The Frazzi Fireproof Construction Co. 
 
 18 Sundial 
 
 Lent by Messrs. Liberty 
 
 19 Three Lithographs 
 Lent by Messrs. Asher 
 
 Most of us cannot afford original paintings and drawings 
 for our walls, and must be content with reproductions. One 
 of the principles that we' should observe inc the choice of 
 such pictures is that they should be of the same size as the 
 originals, or as nearly so as possible. There is a close 
 connection between what the human hand can do and what 
 delights the human eye. A small reproduction of a large 
 picture, far more minute than the artist could draw, will 
 never be a satisfactory decoration for a wall. It will be 
 certain to require close examination before it can be pro- 
 perly seen, and will be teasing to the eye at the distance 
 from which a picture should be judged as a decorative 
 feature. 
 
6 
 
 Lower Gallery 
 
 It would seem, then, that the most satisfactory cheap 
 pictures will be lithographs drawn for reproduction, or 
 facsimiles of drawings. 
 
 20 Garden Posts, Gates, and Chains 
 
 Lent by The Second Hampstead Tenants, Ltd. 
 Posts and chains, with a low hedge behind, or plain oak 
 fencing, form a much more pleasing fence than the walls 
 of brick with cast-iron above that are so commonly seen. 
 
 21 Walling in Brick and Tiles, and Vertical Tiling 
 Lent by Messrs. Thomas Lawrence & Sons (bricks) 
 
 and The Daneshill Brick & Tile Co. (tiles) 
 
 As London is in the middle of the best districts for brick 
 earth in Britain, it has been largely built of brick, and will 
 probably continue to be so. Brick is a humbler material 
 than stone, but there is no reason why a brick building 
 should not be a beautiful one. The grand old palaces of 
 Siena in Italy are built of brick, and Hampton Court, na 
 less beautiful, is also of brick. Some fine examples of 
 eighteenth century houses built of brick may be seen in 
 Stepney Green. 
 
 The ugliness of the brick-built suburbs of London testifies 
 loudly to the misuse of good material. 
 
 Within the last ten years architects have studied to good 
 purpose tne use of brick in old English houses, and a change 
 for the better has set in. 
 
 There is at least one suburb of London where beautiful 
 brickwork may be seen — the Hampstead Garden Surburb. 
 
 It is impossible to demonstrate adequately in this ex- 
 hibition the difference between crudely coloured, badly built 
 brickwork and the "real right thing. 55 Visits of com- 
 parison between the Hampstead Garden Suburb and any 
 neighbouring suburb will be necessary to enforce the lesson, 
 but the contrast between the crudeness of the brickwork 
 built against the blank wall of central house and the 
 mellowness of those on the long wall opposite should be 
 noted. It is hoped that the examples of brickwork here 
 shown will draw attention to this subject and show some- 
 thing of the merits of good brickwork well built. One of 
 the most important things in brickwork is that the colour 
 should be mellow and the surface not too smooth. 
 
 " Texture 55 is a word much used by architects in regard 
 <to building materials, and good texture is keenly sought by 
 some of them. To the public generally the word conveys 
 little meaning, and the importance of good texture is largely 
 overlooked. Colour and texture in buildings, taken to« 
 gether, stand for what in regard to human faces we call 
 " complexion, 55 and just as we are pleased by a fine com- 
 plexion in a human face and displeased by unwholesome 
 colour and surface, so we should look on a building to 
 judge its texture. 
 
Lower Gallery 
 
 7 
 
 If the future development of our towns is to be free from 
 the blighting ugliness that has fallen on them since the 
 early years of the nineteenth century, it will depend very 
 much on what bricks will be used and how they will be 
 built. 
 
 22 Fresco Panel 
 
 Painted and lent by Franz Wilfrid Walter, Esq. 
 
 23 Euboeolith Patent Flooring 
 
 24 Brickwork of light-red " Osta n bricks 
 Lent by Messrs. J. Fenwick Owen & Co. 
 
 25 Four Panels of Minerva Paint 
 
 Lent by Messrs. Pinchin, Johnson & Co. 
 
 26 Oak Block Flooring 
 
 Lent by Turpin's Parquet Flooring Co. 
 
 27 Brickwork of dark-red 2-inch " Osta " bricks 
 Lentjby Messrs. J. Fenwick Owen & Co. 
 
 28 Panel of Paripan Paint (flat finish) 
 Lent by Messrs. Randall Bros. 
 
 29 Brickwork of multi-coloured " Osta " bricks 
 Lent by Messrs. J. Fenwick Owen & Co. 
 
 30 Two Panels of Paripan Paint (glossy finish) 
 Lent by Messrs. Randall Bros. 
 
 31 Brick Walling with Slates above, to show a 
 
 usual, but harsh and unpleasing, combina- 
 tion of building materials 
 
 However good materials may be in themselves, unless they 
 are grouped harmoniously the result will be an artistic dis- 
 aster. In how many hundred miles of London streets the 
 combination here shown may be observed, and how crude 
 and harsh it is ! 
 
 This arrangement should be contrasted with that shown 
 almost opposite (No. 21). Surely in a town like London, 
 surrounded by country that produces beautiful bricks and 
 tiles, it were better to use the materials of the neighbour- 
 hood when they combine so harmoniously, and use slates 
 only with stone or whitewashed buildings, with which they 
 can combine admirably. 
 
 32 Larch Flooring as used in the Sutton Dwellings 
 Lent by Messrs. Spencer Santo & Co. 
 
 33 Cast-lead Garden Tub 
 
 Designed and lent by George P. Bankart, Esq. 
 
8 Lower Gallery 
 
 34 Larch Floring as used in the Sutton Dwellings 
 Lent by Messrs. Spencer Santo & Co. 
 
 35 Brickwork of multi-coloured bricks 
 Lent by Messrs. Henry Fincher & Co. 
 
 36 Panel of Modelled Plaster 
 
 Designed and lent by George P. Bankart, Esq. 
 
 37 Brickwork of light-red bricks 
 Lent by Messrs. Henry Fincher & Co. 
 
 38 Cast-lead Rainwater Head 
 
 Designed and lent by George P. Bankart, Esq. 
 
 39 Various Plans 
 
 Designed and lent by Geoffrey Lucas, Esq., 
 A.R.I.B.A. 
 
 40 Pitch-pine Flooring 
 
 Lent by The Cheap Wood Co. 
 
 41 Three Panels of " Duresco ' ? Distemper 
 Lent by The Silicate Paint Co. 
 
 42 Brickwork of grey bricks, as used at St. 
 
 Jude's-on-the-Hill, Hampstead Garden 
 Suburb 
 
 Lent by Messrs. S. & E. Collier 
 
 43 Deal Block Flooring 
 
 Lent by Messrs. Joseph F. Ebner & Co. 
 
 s 
 
 44 Panel of Enamelac 
 
 Lent by Messrs. Lewis Berger & Co. 
 
 45 Two Panels of Matone flat Enamel 
 Lent by Messrs. Lewis Berger & Co. 
 
 46 Brickwork of purple-grey stock bricks 
 Lent by The Crowborough Brick Co. 
 
 47 Ebnerite Patent Flooring 
 
 Lent by Messrs. Jos. F. Ebner & Co. 
 
 48 Brickwork of dark-red 2 -inch bricks 
 Lent by The Nyewood Brick Co. 
 
 49 Four Panels of Ripolin Paint 
 Lent by Ripolin, Ltd. 
 
 50 Corkadamant Flooring 
 
 Lent by The British Cork Asphalte, Lxp. 
 
Lower Gallery 
 
 9 
 
 51 Sample of " Burr " Walnut Wood 
 Lent by Messrs. C. & R. Light 
 
 52 Plastoment Patent Flooring 
 
 Lent by The Plastoment Asbestos Flooring Co. 
 
 53 Brickwork of yellow stock bricks 
 Lent by Messrs. D. & C. Rutter. 
 
 54 Samples of woods used in joinery and cabinet- 
 
 making 
 
 Lent by Messrs. C. & R. Light 
 
 55 Panel of Polished Satin Walnut 
 Lent by Messrs. C. & R. Light 
 
 56 Pair of Fire-dogs 
 
 By Alfred Stevens 
 
 Lent by Messrs. Shuffrey & Co. 
 
 57 Fireplace 
 
 By Alfred Stevens 
 Lent ffy The Coalbrookdale Co. 
 Alfred Stevens (1817-1875) was perhaps the greatest 
 English artist who has designed domestic work. Like the 
 giants of the Italian Renaissance he showed his capacity for 
 all forms of artistic expression, and proved his saying, " I 
 know of but one art," to be the essence of his artistic faith. 
 Though neither he nor William Morris were imitators, they 
 showed themselves the nineteenth century inheritors of two 
 opposing traditions in art. So as Morris may be described 
 as a great Gothic artist, Stevens may be claimed as a great 
 Classic artist. 
 
 58 Design for Plaque 
 Drawn by Alfred Stevens 
 Lent by Messrs. Minton & Co. 
 
 59 Ten Fireiron Handles 
 By Alfred Stevens 
 
 Lent by Messrs. F. Edwards & Son 
 
 60 Design for Plaque 
 Drawn by Alfred Stevens 
 Lent by Messrs. Minton & Co. 
 
 61 Garden Vase 
 
 Lent by Messrs. Liberty 
 
 62 Design for Vase 
 Drawn by Alfred Stevens 
 Lent by Messrs. Minton & Co. 
 
 63 Design for Vase 
 Drawn by Alfred Stevens 
 Lent by Messrs. Minton & Co. 
 
IO 
 
 Lower Gallery 
 
 63A Plans and Photographs of House at Letchworth 
 
 By J. A. Hallam 
 
 64 Plan of Block of Flats (see Flat A) 
 Designed and lent by Lionel G. Pearson, Esq. 
 
 65 Drawings of House at St. Albans 
 
 Drawn and lent by H. F. Ponton, Esq., A.R.I.B.A. 
 
 65A Child's Cot 
 
 Made and lent by Messrs. Heal & Son 
 
 A Flat for a Single Person 
 
 Designed by Lionel G. Pearson 
 
 Lent by General Builders, Ltd. (windows] 
 
 Messrs. F. Edwards & Son ("Worker 55 range) 
 
 Mr. Thomas Alty (food locker) 
 
 Messrs. Wm. Moss & Co., Ltd. (sanitary fittings) 
 
 "J.M. 55 Curtain Rod Co. (curtain rods) 
 
 Messrs. Treloar (rugs) 
 
 Messrs. Frank Staines & Co. (cup rack and tray) 
 
 Mr. Norman Franks (crockery) 
 
 Messrs. Bent. North & Co. (chairs) 
 
 The Craft School (bureau — designed and made by 
 
 J. Friswell) 
 Tom Blande, Esq. (bed) 
 
 A. Schneider, Esq. (home-made corner cupboard) 
 The table, wardrobe, and dresser are for sale; apply to 
 the Secretary at the Gallery. The wallpapers were given 
 by Messrs. Jeffrey & Co., and the curtains by Messrs. 
 Burnet & Co. 
 
 The main idea in planning this flat was to arrange every- 
 thing so that the single tenant (spinster or bachelor, as the 
 case might be) could, if necessary, do all the housework 
 unaided. There are large numbers of young people of both 
 sexes who come up to London to earn their living and find 
 the usual London lodgings dreary and distasteful. There 
 seems no reason why small self-contained flats should not be 
 erected to suit these tenants. The elements of housework 
 and cooking are soon learnt by experience, and the lighter 
 meals, such as breakfast and tea, present no great difficulty 
 even to the beginner. A simple restaurant might be run in 
 connection with the flats, where the main meal of the day 
 could be obtained. The living room is so arranged that 
 when the curtains to the bed recess are drawn the room 
 appears as a sitting room. The fitting at the end of the 
 recess provides hanging space and drawers for clothes, etc., 
 and so there is no need for a chest of drawers. The basin 
 
Lower Gallery 
 
 11 
 
 in the lavatory avoids the necessity of a wash-stand. The 
 cupboard on the right side of the fireplace is for groceries 
 and stores, with space under for coal ; on the left is a larder 
 with ventilators top and bottom through the external wall. 
 The dresser with the array of plates and cups is itself an 
 embellishment to the room. The scullery contains a sink 
 with draining board, a shelf for pots and pans, and a gas 
 cooker. There is a douche in the lavatory, as this is an 
 excellent form of the " morning tub 53 and occupies less 
 space than an ordinary bath. The space occupied by the 
 flat was to some extent dictated by the size of the bay into 
 which it is fitted, but the plan hung beside the entrance to 
 the flat shows how the same space and arrangement could be 
 t worked into a block with a central corridor having a stair- 
 case at each end and balconies at intervals overlooking road 
 or garden. The superficial area of this flat is identical 
 with that of a self-contained flat for single tenant which has 
 recently been erected in London. 
 
 66 Child's Bedstead (home-made) 
 
 Made*and lent by Oswald Cox, Esq. 
 
 EXHIBIT LENT BY CO-PARTNERSHIP 
 TENANTS, LTD. 
 
 (6 Bloomsbury Square, W.C) 
 
 The methods adopted by the Co-partnership Tenants, 
 Ltd., and the Federated Societies are briefly as follow : — 
 To purchase in the suburb of a growing town an estate of 
 land, and plan or lay-out the same so as to provide — 
 
 {a) Suitable playing sites for the tenants and their 
 children ; 
 
 (b) A reasonable limitation of the number of houses to 
 the acre, so that each house may have a private 
 garden ; 
 
 (c) Pleasing architectural effects, both in the grouping 
 
 and designing of the houses. 
 
 To erect substantially-built houses, provided with good 
 sanitary and other arrangements for the convenience of 
 stockholders desiring to become tenants. 
 
 To let these at ordinary rents. 
 
 To pay a moderate rate of interest on capital (usually 
 5 per cent, on shares and 4 per cent, on loan stock), and to 
 divide the surplus profits (after providing for expenses, 
 repairs, and sinking fund) among the tenant stock-holders, 
 in proportion to the rents paid by them. Each tenant 
 stock-holder's share of profits is credited to him in capital 
 instead of being paid in cash, until he holds the value of 
 the house tenanted by him, after which all dividends may 
 be withdrawn in cash. 
 
12 
 
 Lower Gallery 
 
 67 Garden City Tenants, Ltd., Letchworth — 
 
 Views of Houses 
 
 68 Stoke-on-Trent Tenants, Ltd.- — 
 
 Development of Estate of 38 acres 
 
 69 Harborne Tenants — 
 
 Development Plan 
 
 70 Brentham Garden Suburb, Ealing Tenants, 
 
 Ltd.— 
 
 (a) Plan of Brentham Garden Suburb, 6o| , 
 
 acres 
 
 (b) Key-plan showing the dates of purchase 
 
 of the different plots of land. The 
 gradual development of the Garden 
 Suburb idea is shown by these two 
 plans 
 
 (c) View of Institute opened by T.R.H. 
 
 the Duke and Duchess of Connaught, 
 May 27, 191 1, and of the proposed 
 Hall and Hostel adjoining the In- 
 stitute 
 
 (d) Drawings and photographs of Houses, 
 Recreation Ground, etc., on the 
 Brentham Garden Suburb 
 
 (e) Model of Two Houses 
 
 71 Hampstead Garden Suburb and Proposed Ex- 
 
 tensions of Suburb by the Hampstead Gar- 
 den Suburb Trust and by Co-partnership 
 Tenants, Ltd. 
 
 Area of original Suburb ... ... 240 acres. 
 
 Extension by the Hampstead Gar- 
 den Suburb Tiust and Co-partner- 
 ship Tenants, Ltd. ... ... 100 acres. 
 
 Extension by Co-partnership Ten- 
 ants, Ltd., to East Finchley ... 302 acres. 
 
 Total ... ... 642 acres. 
 
 Including the proposed extensions, the total area 
 will be rather more than one square mile. 
 
Lower Gallery 
 
 13 
 
 Drawings and Photographs of houses, etc., on 
 the Hampstead Garden Suburb — 1 
 
 (a) Haven of Rest 
 
 (b) Co-partnership Homes for Aged People 
 
 (c) Typical Cottage and Garden 
 
 (d) Garden showing Ten Months' Growth 
 
 (e) Picture Showing Six Views of the 
 
 Estate 
 
 (f) Five Views of Estate 
 
 (g) Wordsworth Walk (perspective) 
 
 (h) Visit of the Duke of Connaught 
 
 72 Manchester Tenants, Ltd. — 
 
 Plan of Three Cottages 
 
 73 Sevenoaks Weald — 
 
 Pran of Three Cottages 
 
 74 Liverpool Garden Suburb Tenants, Ltd. — 
 
 (a) Development of about one-third of the 
 
 Estate of 180 acres 
 
 (b) View of houses in Thingwall Road 
 
 75 Sealand Tenants, Ltd., Sealand, near Chester — 
 
 Development of Estate of about 46 acres 
 
 76 West Side of Brent ham Way — 
 
 View of Houses 
 7 6a Co-partnership in Housing (Cloth Sign) 
 
 77 Asmun's Place, Hampstead Garden Suburb 
 Architects, Messrs. Barry Parker and Raymond 
 
 Unwin 
 
 Painted by F. W. Walter, Esq. 
 
 77 A Child's Table, Two Chairs, and Wash-stand 
 Made and lent by Messrs. Heal & Son 
 
 78 Cast-lead Garden Vase on Stone Pedestal 
 
 {Placed in Vestibule) 
 Lent by Messrs. T. Elsley, Ltd. 
 Copied from Hampton Court Palace Gardens ; design of 
 Sir Christopher Wren. 
 
 79 Case of Eleven Vases 
 Made by Messrs. Martin Bros. 
 
 Lent by Mr. & Mrs. Nelson Dawson. 
 
14 
 
 Lower Gallery 
 
 80 Colour Demonstration 
 
 Lent by Messrs. Pilkington (vases) 
 
 These are arranged to show how colours go with each 
 other. The vases are set against backgrounds which bring 
 out their beauties, except that at the extreme right. The 
 orange vase is obviously one that should be set against a 
 plain background. If a room has a strong harsh wallpaper 
 it is useless to place beautiful objects in it in the hope of 
 getting a good effect. The lustre vase which is placed 
 against the white " coral 55 paper " tells 93 very well, 
 whereas the one against the strong red paper is quite 
 " killed/ 5 and one gets no right idea of its beauties. 
 
 8 1 An Arrangement of Furnishings to call atten- 
 
 tion to the over-elaboration and lack of 
 harmony too often seen in modern interiors 
 
 This exhibit has been arranged to show the sort of com- 
 bination of furnishings that may be seen in thousands of 
 homes. The liking for colour and ornament is in itself a 
 good thing, and is the most important element in the feeling 
 for art generally. But with most of us this liking has been 
 entirely untrained, and we are too apt to mistake mere loud- 
 ness for beauty, to pay little heed to the general effect of 
 our rooms, and to overcrowd them with objects of all kinds, 
 vaguely intended to be ornamental, and apt to collect dust 
 to the detriment of our health. In this exhibit the green 
 paper is clearly too strong in colour in combination with the 
 strong red of the hangings and the bright colours of the 
 ornaments. Then as to the overmantel, it is doubtfu' 
 whether it is ever advisable to have an ornamental over- 
 mantel in a small room. In a large reception room a fine 
 overmantel will give added dignity, but when the features 
 proper to large and imposing rooms are imitated in small 
 rooms the result is confusion. Then it is generally in- 
 advisable to have carved furniture unless one can afford 
 furniture of the best kind like the Jacobean and Chippen- 
 dale pieces in the " Homes of the Past 99 upstairs. And 
 how very few there are who can afford such examples ! 
 Furniture should first of all be strong and comfortable, and 
 if this is attained its forms will be pleasing to the eye 
 without carved ornament of any kind. 
 
 The fireplace is shown covered by a hanging. In these 
 days of anti-consumption crusades, the lesson of fresh air 
 is being strongly urged upon us, and in order to get it the 
 chimney should be kept open and allowed to act as an outlet 
 ventilator and the open window as an inlet. 
 
 82 Colour Demonstration 
 
Lower Gallery 
 
 83 Colour Demonstration 
 
 The people of this country have got the reputation of not 
 caring for colour in the way in wnich the peoples of the 
 East and of Southern Europe care for it. But it is well 
 worth our while to care for colour, for the choice of restful 
 and pleasant schemes of colour for our rooms may go far to 
 make us happy and at rest in our surroundings. 
 
 To lay down general rules for the management of colour 
 is extremely difficult, but the following suggestions, if they 
 do not secure good colour, will be of use in the avoidance of 
 bad colour. 
 
 In sitting-rooms and bedrooms wallpaper should always 
 be regarded as a background which should not be too 
 assertive for the furniture which is seen against it. 
 
 Colour should generally be darkest in carpets, and should 
 be gradually lighter up to the ceiling, which should be 
 lightest of all. 
 
 To secure bright colour without loss of harmony, a good 
 way is to choose a paper in which bright colours are re- 
 lieved again*st an almost white ground. As each colour is 
 thus seen against the light tone, and as the bright colours 
 are not relieved against each other, discord is avoided. 
 
 The same is true of a black background. This may be 
 seen in the example of wallpaper with black background 
 here. 
 
 84 Set of Seven Photographs and Plan of Houses 
 
 at Fallings Park, Wolverhampton 
 Designed and lent by Basil Stallybrass, Esq. 
 These houses obtained gold, silver, and bronze medals at 
 the Cottage Exhibition at Fallings Park. 
 
 B Room Arranged by the Peasant Arts Society 
 and Geoffrey H. Lupton, Esq. 
 
 The members of the Peasant Arts Society (17, Duke 
 Street, W.) take this opportunity to explain .the nature of 
 their work and hope. Their desire is to restore the true 
 country life, its faith and its crafts, which they believe to 
 be absolutely essential to the saner life of c this and every 
 country, and their work is directed to this end. 
 
 To increase the love and knowledge of Traditional De- 
 sign, to encourage beautiful and useful hand-work, done 
 under happy conditions in the country, and to sell the pro- 
 ducts to those who can appreciate them, is their immediate 
 purpose. On the other hand, care is taken to price work at 
 its proper commercial value, so as to maintain a right stan- 
 dard, and in no way to undersell individual craftsmen. 
 
 Hand-work alone is compatible with the truest country 
 life; and the larger aim of the Society is to make a country 
 
i6 
 
 Lower Gallery 
 
 movement, whence vital action can proceed to effect the 
 real re-population of England, and the restoration to our 
 people of theirs hands, their faith, and their country-side. 
 In so far as the public will appreciate its ideals and help 
 its efforts, its work will go forward ; having done its part, 
 with the public will lie its failure or success. 
 
 " DI TUTTE LE ARTI MAESTRO E AMORE." 
 
 (Of all the arts Love is the greatest.) 
 
 85 English Oak Writing Table 
 
 Made and lent by Geoffrey H. Lupton, Esq. 
 
 86 Wicker Chair 
 
 Lent by The Peasant Arts Society 
 
 87 Rush-seated Armchairs 
 Made by W. P. Clissett 
 
 Lent by Geoffrey H. Lupton, Esq. 
 
 88 English Oak Dresser 
 
 Made and lent by Geoffrey H. Lupton, Esq. 
 
 89 English Oak Dining Table 
 
 Made and lent by Geoffrey H. Lupton, Esq. 
 
 90 Series of Nine Designs — "The Sower" 
 Designed by Godfrey Blount, Esq. 
 
 Lent by The Peasant Arts Society 
 
 91 Hangings and Pottery 
 
 Lent by The Peasant Arts Society 
 
 92 English Oak Child's Chair 
 
 Made and lent by Geoffrey H. Lupton, Esq. 
 
 93 Chestnut Cupboard 
 Designed by Ambrose Heal 
 Lent by Messrs. Heal & Son 
 
 94 Piece of Hand-woven Flax Cloth 
 Woven and lent ly Miss Minnie Brown 
 
 95 Oak Armchair 
 
 Made and lent by Tom Blande, Esq. 
 
 96 Settee 
 
 By Tom Blande and E. S. Gibson 
 Lent by Tom Blande, Esq. 
 
 97 Dressing Glass 
 
 Designed by M. H. Baillie-Scott 
 Made and lent by T. Blande, Esq. 
 
Lower Gallery 
 
 98 English Walnut Book or China Shelves 
 Made and lent by Ernest W. Gimson, Esq. 
 
 99 Wrought-iron Grate 
 Designed by Edward Spencer 
 
 Lent by The Artificers' Guild, Ltd. 
 
 100 Chair 
 
 Made and lent by A. Romney Green, Esq. 
 
 101 Wrought-iron Standard Lamp 
 
 Designed by Edward Spencer 
 
 Lent by The Artificers' Guild, Ltd. 
 
 102 Stand of Fireirons 
 
 Lent by The Artificers' Guild, Ltd. 
 
 103 English Oak Bureau 
 
 Made and lent by A. Romney Green, Esq. 
 
 104 English Oak Mirror 
 
 Made and lent by Ernest W. Gimson, Esq. 
 
 105 Two Vases 
 
 Made and lent by Messrs. Martin Bros. 
 
 106 Old Oak Chest 
 
 Made and lent by C. Romney Green, Esq. 
 
 107 Pair of Enamelled Bronze Candlesticks 
 Designed by Professor W. R. Lethaby 
 Lent by The Carron Company 
 
 108 Carved and Gilded Pot-pourri Bowl 
 Made and lent by Joseph Armitage, Esq. 
 
 109 Banner 
 
 Lent by The Peasant Arts Society 
 
 no Tall Candlestick (electric) 
 Designed by Edward Spencer 
 Lent by The Artificers' Guild, Ltd. 
 
 in Carved Music Cabinet 
 
 Made and lent by George Jack, Esq. - 
 
 112 Wrought-iron Lamp 
 
 Designed by Edward Spencer 
 
 Lent by The Artificers' Guild, Ltd. 
 
 13 Two Vases 
 
 Made and lent by Messrs. Martin Bros. 
 
 14 Hand- weaving 
 
 Lent by The Haslemere Weaving Industry 
 
i8 
 
 Lower Gallery 
 
 115 Set of Fireirons 
 
 Designed by Ernest Gimson 
 Lent by G. P. Bankart, Esq. 
 
 116 Tablecloth 
 
 Embroidered by Mrs. Geo. P. Bankart 
 Lent by G. P. Bankart, Esq. 
 
 117 Hinged Fender 
 
 Designed by Edward Spencer 
 
 Lent by The Artificers' Guild, Ltd. 
 
 118 Oak Chest 
 
 Painted by Mr. & Mrs. A. H. Powell 
 Made and lent by S. H. Barnsley, Esq. 
 
 119 Set of Fireirons 
 Designed by Ernest Gibson 
 Lent by G. P. Bankart, Esq. 
 
 120 Chest of Drawers 
 
 Designed and lent by Ernest Gimson, Esq. 
 The pieces of furniture and other articles in this aisle 
 were chosen with a view to showing typical examples by 
 modern craftsmen. ft may be found interesting to com- 
 pare them with the old furniture in the Upper Gallery. 
 This modern furniture does not imitate the style of any 
 former time, but it is clearly more nearly related to the 
 Gothic than to the Classic tradition. Its distinguishing 
 characteristics are the choice of suitable material, and a 
 scrupulous respect for the material as a dominant factor in 
 the design. 
 
 121 Child's Mirror 
 
 Designed by Ernest Gimson 
 Lent by Miss Joyce Mary Winmill 
 
 122 Two Vases 
 
 Made and lent by Messrs. Martin Bros. 
 
 123 Bracket 
 
 Lent by The Craft School 
 
 C24 Piece of Hand-woven Orange Lustrine 
 Woven and lent by Miss Minnie Brown 
 
 125 Oak Music Cabinet ("Tall Boy ") 
 Designed by Joseph Armitage 
 
 Lent by George P. Bankart, Esq. 
 
 1 26 Table 
 
 D» signed and made by A. J. Crockett 
 Lent by The Craft School 
 
Lower Gallery 
 
 *9 
 
 127 Stool 
 
 Designed and made by J. Friswell 
 Lent by The Craft School 
 
 128 Dish 
 
 Designed and made by H. Wilson 
 Lent by The Craft School 
 
 129 Formosan Basket 
 Lent by Messrs. Liberty 
 
 130 Mirror in Carved Oak Frame 
 Designed and made by J. Newman 
 Lent by The Craft School 
 
 131 Two Vases 
 
 Made and lent by Messrs. Martin Bros. 
 
 132 Formosan Basket 
 Lent by Messrs. Liberty 
 
 133 Toasting Fork 
 
 Designed and made by J. Buchanan (a boy 11 years 
 old) 
 
 Lent by The Craft School 
 
 134 Poker 
 
 Designed and made by R. Wilson 
 Lent by The Craft School 
 
 135 Poker 
 
 Designed and made by W. H. Skafte 
 Lent by The Craft School - 
 
 136 Dish 
 
 Designed and made by P. Oates 
 Lent by The Craft School 
 
 137 Formosan Basket 
 Lent by Messrs. Liberty 
 
 38 "Dryad " Cane Chair 
 Designed by J. Crampton 
 Lent by Harry Peach, Esq. 
 
 39 Oak Corner Cupboard 
 
 Designed and lent by George Jack, Esq. 
 
 40 Japanese Basket 
 Lent by Messrs. Liberty 
 
 41 Examples of Basketwork 
 
 (a) Soiled Linen Basket (white willow) 
 
 (b) Waste-paper Basket (white and buffed 
 
 willow) 
 
20 
 
 Lower Gallery 
 
 (c) Cheap Waste-paper Basket 
 
 The border is broken to show that the stakes are merely 
 stuck into it, instead of border being formed in one with 
 the rest of .the basket. 
 
 (d) Waste-paper Basket (white and buffed 
 willow) 
 
 (e) Flasket, or Washing Basket 
 
 (f) Old English Reticule (buffed skein 
 
 willow) 
 
 (g) Bread Basket 
 
 (h) Breakfast Tray 
 (j) Knitting Basket 
 
 (k) Old English Reticule (white willow) 
 Made by Sidney Hume (a, b, n, g, h, j) 
 Frank Preston (e) 
 Thomas Knight (k) 
 Lent by James Okey, Esq. 
 Basket-making is one of the oldest crafts in existence. 
 The basket-maker in primitive communities has a wide range 
 of activity. He is the house-builder, the military engineer, 
 the boat-builder, the maker of innumerable domestic 
 utensils, including vessels to hold and heat water. 
 
 The craft is not only important in itself, it has been the 
 cause of greatness in other crafts. It was the parent of all 
 textile arts ; for basket-work is literally a weaving process. 
 The willow pattern in old china, and the basket capitals in 
 Byzantine architecture are derived from basket work. 
 English basket work is made, not from branches of willow 
 trees, but from specially cultivated osier beds. An inter- 
 esting use of basket work is seen annually in Whitechapel, 
 for the booths under which the symbolic ceremonies of the 
 Feast of Tabernacles are carried out are made of basket 
 work. 
 
 Basket making is not work that can be casually learned, 
 but is a highly skilled trade, and the Basket Makers' Trade 
 Union is one of the most flourishing in London. It is 
 work that can only be done by hand. 
 
 142 Formosan Basket 
 Lent by Messrs. Liberty 
 
 143 Japanese Basket 
 Le?it by Messrs. Liberty 
 
 144 Formosan Basket 
 Lent by Messrs. Liberty 
 
 145 Japanese Basket 
 Lent by Messrs. Liberty 
 
Lower Gallery 
 
 21 
 
 146 Formosan Basket 
 Lent by Messrs. Liberty 
 
 147 Japanese Basket 
 Lent by Messrs. Liberty 
 
 148 Japanese Tray Basket 
 Lent by Charles Holme, Esq. 
 
 149 Japanese Charcoal Basket 
 Lent by Charles Holme, Esq. 
 
 150 Japanese Flower Basket 
 Lent by Charles Holme, Esq. 
 
 151 Japanese Tobacco Pouch Basket 
 Lent by Charles Holme, Esq. 
 
 152 " Devon " Tile Fireplace 
 Lent by Messrs. Candy & Co. 
 
 153 Norton Way, Letch worth 
 
 Lent by The First Garden City, Ltd. 
 
 154 Messrs. W. H. Smith & Sons' Bookbinding 
 
 Works at Letchworth (exterior) 
 Lent by The First Garden City, Ltd. 
 
 155 Cast-iron Fireplace 
 Designed by C. F. A. Voysey 
 
 Lent by Messrs. Thos. Elsley, -Ltd. 
 
 156 A Modern Inferno : A Northern Manufacturing 
 
 Town 
 
 Lent by The First Garden City, Ltd. 
 
 157 Bird's-eye View of Letchworth 
 Lent by The First Garden City, Ltd. 
 
 158 Cast-iron Fireplace 
 Designed by A. H. Kennedy 
 Lent by The Falkirk Iron Co. 
 
 Cast-iron has generally been regarded as a very difficult 
 material to treat artistically. Ruskin has testified against 
 it to the best, or worst, of his power. It has been asso- 
 ciated with ugliness in its most acute phases, yet the 
 material is not inherently inartistic. One has only to see 
 such things as the beautiful fireplace by Alfred Stevens, 
 shown elsewhere in this Gallery, or the old fireback in the 
 Upper Gallery, to be convinced of this. It has a special 
 advantage for chimney-pieces in being fireproof. The 
 selection shown on each side of the entrance prove that iron- 
 founders of the present day are able to produce admirably 
 designed mantelpieces in this material. 
 
22 Lower Gallery 
 
 159 Letchworth : A Manufacturing and Residential 
 
 Town 
 
 Lent by The First Garden City, Ltd. 
 
 160 Cast-iron Fireplace 
 
 Designed by Leonard Stokes, P.R.I.B.A. 
 Lent by The Falkirk Iron Co. 
 
 161 Panoramic View of Letchworth (to scale) 
 Lent by The First Garden City, Ltd. 
 
 162 Cast-iron and Tile Fireplace 
 Designed by A. H. Kennedy, Esq. 
 Lent by The Falkirk Iron Co. 
 
 163 Dutch Stove 
 
 Lent by Messrs. Van Straaten & Co. 
 
 164 Illustrations of Bournville — 
 
 (a) Plan of Bournville 
 
 (b) Plans and Elevations of Typical 
 
 Houses 
 
 (c) Photographs 
 
 (d) Statistics 
 
 Lent by The Bournville Trust 
 
 Bournville is the garden town built by Messrs. Cadbury, 
 and chiefly tenanted by their workpeople. 
 
 165 Garden Vase on Stand 
 Lent by Messrs. Liberty 
 
 166 Design for a Small House 
 Designed and lent by C. C. Winmill, Esq. 
 
 The lower floor and one bedroom have been built in 
 Lower Gallery, with adaptations. 
 
 167 Alternative Design for Small House 
 Designed and lent by R. M. Taylor, Esq. 
 
 168 Six Garden Tubs on Terrace in Front of Model 
 
 of House 
 Lent by Thomas Davies, Esq. 
 
 N.»B. — The Plants in the Garden Tubs on Terrace and in 
 other parts of the Gallery are sent from Regent's Park. 
 (A. D. Webster, Esq.. Superintendent.) 
 
 169 Garden Seat 
 
 Lent by Castle's Shipbreaking Co. 
 
Lower Gallery 
 
 C Full Size Model of the Lower Floor of a Small 
 House 
 
 Designed by C. C. Winmill, Esq. 
 The models in the middle of the Lower Gallery show the 
 ground floor and one bedroom of a cottage or small house, 
 designed to occupy a space equal to that between the four 
 columns in the Hall, to cost approximately ^250 and to be 
 suitable for a man with ,£200 a year. 
 The complete house would contain : — 
 
 Ground Floor. — Entry, with small hall and staircase. 
 Large living room, 280 ft. area, which can be 
 divided into two rooms, and kitchen, scullery, and 
 w.c. 
 
 First Floor. — Bathroom and w.c. and four bedrooms, 
 approximately 170 ft., no ft., 77 ft., and 66 ft. in 
 area. 
 
 Drawings*of it may be seen on the easel by the terrace. 
 These show the house exactly as it would be built, whereas 
 one or two liberties have been taken with the models, for 
 convenience of exhibition. The walls, for instance, are 
 made too thin for a real house, the stairs arranged so that 
 people can walk on the level into the small room, the kitchen 
 fireplace so built that a column forms one of its jambs, and 
 the w.c. built in outline only. 
 
 Simplicity, comfort; maximum of sunlight, thorough 
 ventilation, and conservation of heat have been the dominant 
 factors in the scheme. The house being placed to face east, 
 the sun would shine into every room in the course of the 
 day, and would be on the large sitting room all day. The 
 fireplace of the living room is arranged so as to give out as 
 much heat as possible, the grate used being the well-known 
 " Philip Webb " grate, made and supplied by Messrs. 
 Elsley, and on most days in winter the heat given out 
 through the back of this fireplace would be sufficient to warm 
 the small room. The tile sides or setting to this fireplace 
 are formed of the Daneshill hand-made tiles, made by 
 W. R. Hoare, of the Daneshill Brickworks, Basingstoke, 
 and show how materials used in a natural way may produce 
 a simple and dignified fireplace. Tiles were used very 
 much in this way in mediaeval times, as may be seen in the 
 old castles of Bodiam and Hurstmonceaux. 
 
 The kitchen range is supplied by Messrs. Chas. Heap and 
 Co., of Leicester Street, Leicester Square, W.C. One of 
 these little " Leicester 55 ranges is used in the cottage of an 
 architect who commands respect amounting to veneration. 
 After ten years' use he speaks in the highest terms of its 
 efficiency and construction. No repairs have had to be 
 done to it during that time, and one set of firetile lumps 
 lasted nine and a half years. With only half a ton of 
 coal and one sack of coke it will serve his household of four 
 
Lower Gallery 
 
 persons for two months, and it can quite easily cook a dinner 
 for seven people. 
 
 The copper (known as the "Jack Horner") is supplied 
 by Messrs. Elsley, of Great Titchfield Street, W.C, and 
 holds six gallons. It takes up little room, and, unlike 
 circular detached coppers, leaves no dirty corners at the 
 back. 
 
 Warmth by the entrance is maintained by using double 
 doors (the second door is omitted in the model) and warmth 
 again is aimed at in the position chosen for the hot water 
 cistern. It is so placed that the landing and two adjoining 
 bedrooms may benefit by its heat. 
 
 The store cupboard is arranged so that all the articles in 
 it can be readily seen, and when electric light is available 
 a lamp suspended in the centre lights the whole area. 
 
 Cupboards and storerooms are most necessary in a house, 
 and an examination of the plans will show that they have 
 been formed wherever practicable. Some of the cupboards 
 have been omitted from the model on the ground of expense. 
 
 The bath in many small houses is placed in the scullery 
 or adjoining. It is obviously better to have it near the 
 bedrooms, and this is where both bath and w.c. are placed. 
 
 The larder or food cupboard in the kitchen is not intended 
 to be the only food store. Another store should be pro- 
 vided outside, with air on at least three sides. 
 
 The coal store should also be outside the house. Pro- 
 vision can be made in the scullery for \ ton, but the space 
 there is generally too valuable for such storage, being 
 iequired for mangle, baskets, etc. 
 
 The position of the sink is of importance. There should 
 be ample light for washing up. The draining board should, 
 if possible, be of teak, and large enough for its purpose. 
 The taps over sink should be placed so that a pail can stand 
 under them, and so that they can both run into one pail, 
 but they should not be too close to each other. The sink 
 and fittings have been supplied by Messrs. Geo. Jennings, 
 Ltd., of Lambeth Palace Road. This is a very suitable 
 sink for a small house or cottage. 
 
 In the roof is a large loft or attic the entire length of the 
 house, which is entered, through a trap door and by a step- 
 ladder hinged and folded up to first floor ceiling. Such a 
 loft gives most useful extra accommodation in a small house 
 if the roof be properly constructed. 
 
 The windows and casements are made by Messrs. Geo. 
 Wragge, Ltd., 209 Shaftesbury Avenue, London, W.C, who 
 have taken pains to produce a watertight casement similar in 
 section to the flat iron casements seen in old cottages. It 
 will be noticed how much more simple these casements are 
 than the thick double-flanged ones usually used. The bow- 
 shaped fastening to these windows is made from a design 
 by Mr. Philip Webb. 
 
Lower Gallery 
 
 25' 
 
 The hinges to the internal doors are hand-made, supplied 
 by Messrs. Elsley. They are rather better in finish than 
 the ordinary wrought-iron cross garnets, and have fishtail 
 ends instead of circular ones. They can be obtained from 
 Messrs. Elsley at is. 3d. per pair. 
 
 The door latches are of French manufacture, and were 
 obtained from Griffoin-Collier, Porte de France, Montreuil- 
 s.-Mer, and cost about is. 3d. each. 
 
 The whole of the paint work in the house is executed with 
 Straatine jaj^an enamel. It is claimed that the covering 
 capacity of this enamel is about 80 square yards per gallon, 
 that it will not crack, scale, nor blister, and that its elastic 
 properties almost equal rubber. The smoothness of the 
 finished surface permits of perfect cleaning, and for this 
 cold water is usually sufficient. This enamel is to be 
 obtained from Mr. Martin Van Straaten, Little Britain, 
 E.C. 
 
 The floor covering in the hall is known as tiloleum, sup- 
 plied by Messrs. Heal and Son. It is clean and bright, 
 with a pleasant colour effect, and worn parts can be simply 
 replaced owing to the jointing. 
 
 The furniture and curtains are lent by Messrs. Heal and 
 Son, and a statement is hun^ in each room giving the cost of 
 each article. The following notes express the intentions 
 of the makers. 
 
 "the cottager's front parlour. 
 
 cc Simplicity in the Cottage. On the face of it this seems 
 to be a point which hardly needs pleading — so sane and right 
 does it appear. Yet a glance at the unserviceable inanities 
 of the ordinary artisan's cottage parlour, the c suite 5 in 
 imitation ' saddlebags,' Lhe stained and sticky-looking table 
 which affords a rickety stand for the glass case of wax fruits, 
 shows that simplicity has no vogue where on every ground 
 it would seem most advisable. 
 
 " SUBURBAN VILLADOM. 
 
 cc Then in ' the cottage of gentility, 5 that of the week- 
 ender, how often is it that instead of a homely and com- 
 fortable simplicity we find all the pretentious fussiness of 
 the suburban villa, the absurd antimacassars, the ' new art 5 
 overmantel smothered in rococo photograph frames^ in- 
 effable green grotesques of cats and other depressing forms 
 of pottery. 
 
 SIMPLICITY AND UTILITY, WITH SEVERITY. 
 
 "With the examples of furniture shown we have en- 
 deavoured to avoid both the affectations of the one type and 
 the banalities of the other, founding our designs rather on 
 the good, plain, farmhouse furniture of the eighteenth cen- 
 tury, which is always eminently serviceable and has a simple 
 dignity of its own. 
 
26 
 
 Small Gallery 
 
 " It may be objected that our designs err on the side of 
 excessive plainness. Our answer is that economy has been 
 studied everywhere except at the expense of sound con- 
 struction. 
 
 (e MATERIALS AND FINISH. 
 
 " As regards the material used we have in most cases 
 selected oak as being strong and not too expensive. This 
 can either be left perfectly plain to tone with age, or, at a 
 very slight extra cost, can be fumed to any shade, or wax 
 polished. 
 
 " An additional advantage in leaving the oak quite plain 
 is that it can always be scrubbed — this is especially useful 
 where the furniture is used for nurseries:" 
 
 The statuettes are by Mrs. Stabler, and are lent by her. 
 
 The stone for terrace was lent by the Metropolitan 
 Borough of Stepney, the garden seat by Castle's Ship- 
 breaking Co., the tubs by Mr. Thomas Davies, Bear Street, 
 Leicester Square. 
 
 D Full Size Model of one of the Bedrooms for 
 Model C 
 
 SMALL GALLERY. 
 
 E Two Stepney Rooms 
 
 Installed by The Commercial Gas Co. (gas) 
 Lent by Messrs. Smith & Wellstood (kitchener) 
 Messrs. Benjamin North & Sons (chairs in living 
 room) 
 
 Messrs. Asher & Co. (lithographs) 
 
 Miss F. H. Durham (platters, candlesticks, Nor- 
 wegian cooker, and tablecloth, etc.) 
 
 Mr. Norman Franks (crockery) 
 
 Messrs. Venables & Sons, Ltd. (other furnishings) 
 
 The Falkirk Iron Co. (bedroom fireplace ; de- 
 signed by F. W. Troup) 
 
 G. Gummer, Esq., and Pupils (painted windows) 
 
 The " Ronuk " Co. (treatment with " Ronuk " of 
 the bedroom floor and living-room fittings) 
 
 Messrs. Henry Borton & Co. (wall-paper in 
 bedroom) 
 
 " The background of life is worth study ; it is, after all, a 
 fart of the mighty whole." — S.F. 
 " The Stepney House" is arranged to show a way of 
 making the best of simple rooms under stated financial and 
 other limitations for persons who wish for beauty, sim- 
 plicity, and fitness, and are trying to find a practicable 
 standard for pleasant home life under difficult circum- 
 stances. 
 
Small Gallery 
 
 Every house should have a distinction and individuality 
 which reflects the qualities of those who make home there, 
 and a home without such distinctive character is as dull and 
 uninteresting as a person in like case. 
 
 Therefore the Committee have not wished to set a model 
 to be copied, but rather to present some facts and sug- 
 gestions which will make interested persons think definitely 
 and with point concerning -the intricacies of domestic detail. 
 
 To help this purpose, an equipment list has been placed 
 outside the exhibit, and within the rooms from, time to time 
 living pictures will be shown illustrating the use of the 
 heme. 
 
 Sound and durable things have been supplied so far as 
 money would permit, and in accord with William Morris's 
 golden rule : ct Have nothing in your houses which you do 
 not know feo be useful or believe to be beautiful." 
 
 Knowing well that where space, sunshine, and time are 
 very precious, the useful must also lend beauty. "All art 
 starts from, this simplicity, and the higher the art rises the 
 greater the simplicity." 
 
 " Not a single life can be thoroughly beautiful until 
 everything about life is as beautiful as we can make it. 55 — 
 W.R.L. 
 
 170 Norwegian Cooker 
 Lent by Miss Durham 
 
 171 Three Costume Models showing — 
 
 Dress for Games 
 Simple Dress for Girls 
 Simple Dress for Boys 
 Lent by The College of Physical Training, 
 Dunfermline 
 
 172 Illustrations of "Reform'' Dress for Girls, 
 
 with Notes 
 Lent by Miss Dorette Wilke 
 
 173 Three Photographs, showing — c 
 
 (a) Over-crow 7 ded Room, which causes dust 
 
 to gather dangerously to health 
 
 (b) Occupants of the same room 
 
 (c) Room in which dust is reduced to a 
 
 minimum 
 Lent by Dr. Warner 
 
 174 Reform Dress 
 
 Designed and lent by Miss Dorette Wilke 
 This dress has had hard wear for three years. 
 
Upper Gallery 
 
 LANDING AT TOP OF STAIRS. 
 
 175 Photographs, etc., of Old Houses acquired by 
 the National Trust 
 Lent by The Nateonal Trust for Places of His- 
 toric Interest or Natural Beauty 
 
 UPPER GALLERY. 
 
 176 Two Frames of Photographs, etc., showing 
 
 Evolution of Small Houses from the 
 
 Earliest Forms 
 Photographs, etc., arranged by Tudor R. Castle 
 Lent by S. O. Addy, Esq., and Messrs. Swan 
 
 SONNENSCHEIN & CO. 
 
 Chiefly from k ' The Evolution of the English House," by 
 S. O. Addy 
 
 177 Seven Frames of Photographs and Notes giving 
 
 an Outline of the Development of English 
 
 Mansions from the Norman Period to the 
 
 " Adam " Period 
 Adafted by Tudor R. Castle from " The Growth of 
 
 the English House," by J. Alfred Gotch 
 Lent by Messrs. Batsford 
 
 178 Antique Iron Chest 
 
 Lent by The Worshipful Company of Dyers 
 Strong box, or "Armada" chest, of wrought-iron, with 
 engraved lock-plate. German work ; 16th cent. 
 
 179 The Csesar Room, Gwydyr Castle, North Wales 
 By Hanslip Fletcher 
 
 Lent by The Rt. Hon. The Earl Carrington, 
 K.G., P.C. 
 
 180 Room in No. 3 Clifford's Inn 
 
 Drawn and lent by Hanslip Fletcher, Esq. 
 This room has been removed to the Victoria and Albert 
 Museum. 
 
 181 The Ante-Drawing Room, Master's Lodge, 
 
 Charterhouse 
 By Hanslip Fletcher 
 Lent by Mrs. Haig-Brown 
 
Upper Gallery 
 
 29 
 
 182 Eight Frames of Photographs from " Old Cot- 
 tages, etc., in the Cotswold District," by 
 W. G. Davie and E. G. Dawber 
 
 Lent by Messrs. Batsford 
 
 As the green landscape of the midlands and the south of 
 England shows in its different districts exquisite and charac- 
 teristic varieties of beauty without high hills or other bold 
 natural features, so do the types of old cottages vary from 
 one district to another and fitly harmonise with their sur- 
 roundings. English villages do not show the wild pic- 
 turesqueness of tower and gable often seen in Normandy, 
 nor are they set aloft on hilltops against the sky like those 
 of Tuscany. Their beauties are as calm and quiet as those 
 of English fields and woods, but they are none the less real, 
 and the study of old English cottages is not only a delight 
 to the eye but an education in the art of building. 
 
 When we see an old cottage inclining to ruinous decay and 
 picturesque in its degradation, we are too apt to think that 
 all admiration for old cottages is founded on sentimental 
 and fanciful considerations of picturesqueness and asso- 
 ciation. 
 
 Nothing could be further from the truth. It is scarcely 
 too much to say that the improvement that has begun to be 
 apparent in domestic architecture in the last two decades has 
 been chiefly brought about by the intelligent study of old 
 cottages and other humble buildings. As long as architects 
 studied only the great historic styles of Gothic and Classic 
 they too often lost touch with the right use of materials in 
 building, in reproducing the architectural features of their 
 favourite period. The interest of old .cottages is not so 
 much in their being examples of any particular " style," 
 but in the comeliness of the materials used and the skill 
 shown in making the best use of these materials. 
 
 The stone-built cottages of the Cotswold region, where 
 Oxfordshire, Gloucestershire, and Worcestershire join be- 
 tween the valleys of the Thames and the Severn, have a 
 character all their own. Their grey walls and stone roofs, 
 touched with yellow lichen, harmonise beautifully with the 
 sweeping uplands and slopes of beechwood o c f that country. 
 As is the case with many other parts of the English country- 
 side, the people of the Cotswolds were formerly much richer 
 than the present inhabitants. 
 
 The staple industry of the Cotswolds is in wool, and be- 
 fore the settlement of Australia English wool realised high 
 prices. Cotswold towns, villages, and farms show traces of 
 this prosperity. The houses are massively built, and fine 
 carved doorways, pinnacles, and other features are 
 common. Most of the characteristic houses were built in 
 the seventeenth century. 
 
3° 
 
 Upper Gallery 
 
 HOMES OF THE PAST. 
 
 As we study history and read of the boldness of knights, 
 the craft of statesmen, and the sorrows of kings, we find it 
 difficult to form mental pictures of the home life of past 
 times. History has generally been presented to usas it were, 
 in black and white. Great deeds and fine characters have been 
 made to stand out against a dark background of violence 
 and misery. But the colour of 'the life of the past, its 
 atmosphere and solidity, have not been made real to us. 
 In recent times immense additions have been made to our 
 knowledge of the life of our ancestors by antiquaries and 
 historians. But, by a curious irony of circumstance, 
 though any of us can easily learn far more of the " facts 
 of history ,s than the most learned of our great-grandfathers 
 we are in a far less favourable position than they to under- 
 stand these facts. An incalculably great change took 
 place in the nineteenth century, and whereas the develop- 
 ments of the material surroundings of life from one period 
 to another was slow, it is now so fast that to some it seems 
 like a mad whirl and no development at all. 
 
 This change has, of course, been largely brought about 
 by the influence of machinery. Tradition in architecture, 
 decoration, and furnishing has practically ceased to exist 
 since the early decades of the nineteenth century. 
 
 It is hoped that these bays, arranged to show interiors of 
 various periods, may quicken that sense of continuity with 
 the past that is so important an element in the right under- 
 standing of the present and future. 
 
 The study of the furniture and interior decoration of 
 English homes of the past is one of comparatively recent 
 date ; but there are few persons nowadays who have not at 
 least a nodding acquaintance with the work of the great 
 Georgian cabinet-makers, and some slight knowledge, 
 gleaned maybe from the stage or from pictures, of the 
 domestic interiors of the time also of our Tudor and Stuar.t 
 Sovereigns. 
 
 The intention of the organisers of this exhibition has been 
 to present in a limited space and by means of a small 
 number of exceptionally choice specimens of furniture, as 
 complete as possible a picture of three centuries of domestic 
 decoration from early Tudor times down to the commence- 
 ment of last centurv — that is to say, roughlv from about 
 1500 to about 1800. 
 
 The exhibits are arranged in five bays, which are divided 
 as follows, the wood which was mainly employed for the 
 furniture of each successive period being indicated : — 
 
Upper Gallery 
 
 3i 
 
 Oak. — 1. Early Tudor. 16th century, 
 
 2. Elizabethan and Jacobean. i6th-i7th cent. 
 Walnut. — 3. Restoration. 17th century. 
 
 4. William & Mary and Queen Anne. 17th- 
 18th century. 
 Mahogany. — 5. Georgian. 18th century. 
 
 Room I. 
 
 During the Middle Ages, when Gothic Art reigned su- 
 preme, architecture left its impress on every work of art, 
 and furniture was ornamented with the designs gf Gothic 
 buildings and with panels like the window tracery of the 
 great cathedrals, termed " Pal's windows " by the masses — 
 signifying the old St. Paul's which perished in the fire of 
 London. These Gothic motives disappear from furniture 
 in the time of Henry VIII., and the Italian Renaissance 
 makes itself felt on Tudor work. The usual mode of 
 decorating the panels of furniture was now by means of the 
 linenfold pattern, so called from its resemblance to a folded 
 napkin. This species of ornament lasted until the triumph 
 of classical design in the reign of Queen Elizabeth, an age 
 which, fertile in great events, was productive also of much 
 important furniture. Throughout this period English 
 furniture was strongly influenced from abroad, and 
 numerous craftsmen from the Netherlands found a home in 
 England, bringing with them continental designs which they 
 engrafted on to English work. These foreign workmen, 
 like the army of craftsmen in every field that at all times 
 has swarmed into England, soon accustomed themselves to 
 their environment, and became as English as the English 
 themselves. English work has ever had its own distinctive 
 mark, for whatever the native craftsmen themselves bor- 
 rowed they have speedily made their own. Foreign in- 
 fluence is visible on the large, important chest of about 1570 
 from Southwark Cathedral, which displays a style of inlay 
 German in inspiration ; while the smaller choice chest in 
 
 Room II., 
 
 dating from the last years of the century, carved with 
 figures of Faith and Patience which belongs to Mr. Seymour 
 Lucas, betrays the influence of Flemish design on English 
 work. The room in which this chest stands has been en- 
 riched by some remarkable painted panelling lent by Messrs. 
 Gill and Reigate. This panelling, which deserves careful 
 examination, affords a striking illustration of the love for 
 bright colours characteristic of all early interior decoration. 
 Though the furniture of those days that has come down to 
 us is now for the most part black, it should be borne in 
 mind that not only were plaster friezes and ceilings gaily 
 coloured and picked out with gold, but carved stonework, 
 
32 
 
 Upper Gallery 
 
 panelling and furniture was also painted and gilded ; and 
 was further ornamented with cushions and valances of 
 bright and rich materials, and the walls hung with storied 
 tapestries. In the centre of this room stands a remarkable 
 hexagonal table of the year 1606, and a Jacobean chair 
 belonging to the Carpenters' Company. 
 
 Room III. 
 
 The third room illustrates the new style of furniture that 
 made its appearance at the Restoration of the Monarchy in 
 1660, when the Flemish style which King Charles II. 
 brought back with him from his residence in the Low Coun- 
 tries dominated. Oak now gives place to walnut : the 
 walnut trees planted during Elizabeth's reign having attained 
 maturity. The furniture from this time onwards was 
 highly attractive, owing to its elegance of form and rich- 
 ness of upholstery. The broad stretcher and cresting of 
 chairs, couches, and day-beds is not infrequently carved 
 with a crown supported by cherubs, in allusion to the Re- 
 storation of the Monarchy. Most of the fine furniture in 
 this room and the room following is from the collection of 
 Mr. W. H. Lever. 
 
 Room IV. 
 
 The next room belongs to the time of William and Mary 
 and Queen Anne. This period was marked by the Dutch 
 influence introduced by William III. The wood employed 
 was walnut, frequently enriched with coloured marquetry. 
 The love for colour further displayed itself in needlework 
 and embroideries, in the production of which England ex- 
 celled any other country. Such work seems to have formed 
 the principal occupation of ladies of position. Among the 
 most interesting of the embroideries exhibited by Mr. 
 Lever is the little model bed with its needlework hangings. 
 Close by is the beautiful marquetry clock of 1697 from St. 
 Paul's Cathedral.' 
 
 Room V. 
 
 The last room, with its painted pinewood panelling, 
 represents a Georgian interior. From about 1730 mahogany 
 came into general use owing to the trade with the English 
 possessions in the West Indies. The Georgian age can 
 boast of that brilliant but all too short-lived school of 
 English cabinet-makers, which included among its ranks 
 such names as Chippendale, Heppelwhite, Adam and 
 Sheraton. The furniture of this period was stamped by a 
 quality and technical excellence unequalled before or since. 
 The specimens here shown include several unusually fine 
 examples of Chippendale work lent by Mr. Percival 
 Griffiths. 
 
 p. as. 
 
Upper Gallery 
 
 33 
 
 BAY I. 
 Early Tudor Period. 
 
 183 Burgundian Tapestry (15th cent.) 
 Lent by John A. Holms, Esq. 
 
 184 Gothic Chest 
 
 Lent by Mrs. Oswald Barron 
 
 185 Gothic Stool (late 15th cent.) 
 
 Lent by Seymour Lucas, Esq., R.A., F.S.A. 
 
 186 Oak Chest from Cambridge (early 16th cent.) 
 Lent by Professor Charles Waldstein, LL.D. 
 
 187 Burgundian Tapestry (15th cent.) 
 Lent by John A. Holms, Esq. 
 
 188 Tudor Armchair 
 
 L^ent by G. C. Beresford, Esq. 
 Oak "box 5 ' chair decorated with linenfold panels and 
 Renaissance carving. Henry VIII. period (about 1530). 
 
 189 Oak Chest inlaid with Marquetry (about 1575) 
 
 Lent by The Dean & Chapter of Southwark 
 Cathedral 
 
 This remarkable and unique example of English furniture 
 was made for Hugh Omey, Sheriff of London, and presented 
 by him -to the Church of St. Saviour (St. Marie Overie), 
 now Southwark Cathedral, as a muniment chest. It bears 
 his arms and those of his son-in-law, together with his 
 initials and merchant's marks., The surface is carved and 
 elaborately inlaid with floral and conventional ornaments in 
 numerous stained and coloured woods. The lower part of 
 the chest has three drawers, and between them two panels 
 inlaid with architectural views, which correspond to some- 
 what similar designs not infrequently found on chests of 
 this date. These views represent the facade of the cele- 
 brated Palace of Nonesuch, built by Henry VIII. at Cheam 
 in Surrey. The palace was long considered one of the 
 wonders of England. In 1670, however, Charles II. gave 
 it to his mistress, Barbara Palmer, and created her Duchess 
 of Cleveland, and Baroness of Nonesuch. 0 This lady 
 promptly pulled down the building for the value of the 
 materials. 
 
 190 Pair of Gothic Pricket Candlesticks 
 Lent by Mrs. Oswald Barron 
 
 191 Gothic Cooking Pot (Laton) 
 Lent by Mrs. Oswald Barron 
 
 192 Piece of Tapestry 
 
 Lent by Professor W. R. Lethaby 
 
34 
 
 Upper Gallery 
 
 193 Oak Stool, Edward VI. (about 1550) 
 
 Lent by Sir George Donaldson 
 
 194 Three Brass Dishes (German ; early 16th cent.) 
 Lent by R. S. Lorimer, Esq., A.R.S.A. 
 
 BAY II. 
 Elizabethan Period. 
 
 196 Painted Oak Panelling, Mantelpiece, and 
 
 Overmantel 
 Lent by Messrs. Gill and Reigate 
 
 197 Elizabethan Chest 
 
 Lent by Seymour Lucas, Esq., R.A., F.S.A. 
 Oak Chest, carved with figures representing Faith and 
 Patience, inscribed with the words " Fides ,5 and 
 " Patientia." Elizabethan (about 1590). 
 
 198 Oak Chair (about 1650) 
 
 Lent by The Victoria and Albert Museum 
 
 199 Pair of Andirons and Tongs 
 Lent by Messrs. Shuffrey & Co. 
 
 200 Fire Back (1588) 
 
 Lent by Messrs. Shuffrey & Co. 
 
 201 Old Oak Armchair (Jacobean) 
 
 Lent by The Worshipful Company of Carpenters 
 
 202 Octagon Table of Oak 
 
 Lent by The Worshipful Company of Carpenters 
 The top is supporteoj by eight carved and fluted 
 baluster legs, connected by arches, in the spandrels of 
 which is the date 1606, and the letters R.W., G.I., J.R., 
 and W.W., being initials of Richard Wyatt, George Isack, 
 John Reeve, and William Wilson — the Master and Wardens 
 of the Carpenters' Company in 1606. 
 
 203 Bellarmine Jug 
 
 Lent by Lieut. -Colonel G. B. Croft Lyons 
 Bellarmine jug, or " Grey Beard;," of Raeren ware, with 
 the Arms of Queen Elizabeth and the date 1594. 
 
 204 Oak Cradle (Jacobean) 
 
 Lent by Miss Yolande E. Ball 
 
 205 Armchair 
 
 Lejit by Messrs. Gill & Reigate 
 
 206 Livery Cupboard (17th cent.) 
 Lent by Mrs. Oswald Barron 
 
 207 Mortar 
 
 Lent by Mrs. Oswald Barron 
 
Upper Gallery 
 
 35 
 
 208 Wooden Flail (1644) 
 
 Lent by Mrs. Oswald Barron 
 Probably used for beating clothes. 
 
 209 Child's Armchair 
 
 Lent by Messrs. Gill & Reigate 
 
 210 Portrait of Sir Christopher Hatton, Lord 
 
 Chancellor 
 By Cornelius Ketel 
 Lent by Aymer Vallance, Esq. 
 
 BAY III. 
 Restoration Period. 
 
 211 Replica of Silver Mirror at Knole Park, Seven- 
 
 oaks, belonging to Lord Sackville (1680) 
 Lent by The Victoria and Albert Museum 
 
 212 Replicas of a Pair of Silver Sconces at Knole 
 
 Park, Sevenoaks, belonging to Lord Sack- 
 ville (1680) 
 Lent by The Victoria and Albert Museum 
 
 213 Armchair — Charles II. period 
 Lent by W. H. Lever, Esq., M.P. 
 
 214 Large Chair — Charles L period 
 Lent by W. H. Lever, Esq., M.P. 
 
 215 Day Bed — Charles II. period 
 Lent by W. H. Lever, Esq., M.P. 
 
 216 Panel of " Verdure ,} Tapestry, with Figures of 
 
 Llercules and Omphale with Cupids (17 th 
 cent.) 
 
 Le?it by John Crompton, Esq. 
 
 217 Armchair — Charles II. period 
 Lent by W. H. Lever, Esq., M.P. 
 
 218 Lligh-backed Chair — William III. period 
 Lent by W. H. Lever, Esq., M.P. 
 
 219 Panel of French Silk Tapestry — Terraced 
 
 Landscape with Figures of Apollo and 
 Birds (early 18th cent.) 
 Lent by John Crompton, Esq. 
 
 220 Kirman Persian Carpet 
 
 Lent by The Oriental Carpet Manufacturers, Ltd. 
 
 221 High-backed Chair — William III. period 
 Lent by W. H. Lever, Esq., M.P. 
 
 222 Stool, with Needlework Cover 
 Lent by Messrs. Gill & Reigate 
 
36 
 
 Upper Gallery 
 
 BAY IV. 
 
 William & Mary and Queen Anne Period. 
 
 223 Walnut Inlaid Chair (Queen Anne period) 
 Lent by W. H. Lever, Esq., M.P. 
 
 224 Small Chest of Drawers on Stand (Queen Anne) 
 Lent by The Victoria and Albert Museum 
 
 225 Inlaid Walnut Armchair (Queen Anne period) 
 Lent by W. H. Lever, Esq., M.P. 
 
 226 Four Needlework Pictures (Queen Anne 
 
 period) 
 
 Lent by W. H. Lever, Esq., M.P. 
 
 227 Mirror in Needlework Frame 
 Lent by W. H. Lever, Esq., M.P. 
 
 228 Eight-day Clock, in Inlaid Marquetry Case, 
 
 from the Vestry of St. Paul's Cathedral 
 Lent by The Dean and Chapter of St. Paul's 
 Cathedral 
 
 The Cathedral Accounts for the period from October, 
 1697, t° September, 1698, contain the following entry of the 
 payment for this clock : 
 
 " Ffor a Pendulum Clock for the South-East 
 Vestrey that goes 8 dayes in a Wallnut Tiee 
 Case, ^14 :oo :oo." 
 There is no maker's name on the clock, but it was un- 
 doubtedly the work of Langley Bradley, of the " Minute 
 Dyall," in Fenchurch Street, who was at that time the 
 Cathedral clockmaker, and made the celebrated St. Paul's 
 clock. 
 
 The clock has stood in the vestry ever since, but not in its 
 present state ; for at some period the case was given a coat 
 of black paint; and a few years ago, having got out of 
 repair, it was sent to be done up, when on cleaning off a 
 portion of the old paint the beautiful inlay was discovered 
 below the surface. 
 
 229 Inlaid Burr Walnut Chest of Drawers (late 
 
 17th cent.) 
 Lent by W. H." Lever, Esq., M.P. 
 
 230 Model of Four Tester Bed 
 Lent by W. H. Lever, Esq., M.P. 
 
 231 Two Chinese Bottles (hexagonal form) 
 Lent by W. H. Lever, Esq., M.P. 
 
 232 Sarah, Duchess of Marlborough 
 By Sir Godfrey Kneller 
 
 Lent by Messrs. Shepherd Bros. 
 
Upper Gallery 
 
 37 
 
 233 Walnut Inlaid Chair (Queen Anne period) 
 Lent by W. H. Lever, Esq., M.P. 
 
 234 Mirror in Marquetry Frame (17th cent.) 
 Lent by W. H. Lever, Esq., M.P. 
 
 235 William and Mary Chair 
 
 Lent by Horace de Vere Cole, Esq. 
 
 236 King George I. 
 
 By Sir Godfrey Kneller 
 
 Lent by Messrs. Shepherd Bros. 
 
 237 William and Mary Chair 
 
 Lent by Horace de Vere Cole, Esq. 
 
 238 Mirror in Needlework Frame 
 Lent by W. H. Lever, Esq., M.P. 
 
 239 Spinet 
 
 Made by Thomas Hitchcock, of London 
 
 Lent by Messrs. John Broadwood & Sons, Ltd. 
 
 240 Panel of Petit-point Needlework (18th cent.) 
 Lent by W. H. Lever, Esq., M.P. 
 
 241 Persian Rug 
 
 Lent by Messrs. Vincent, Robinson & Co. 
 
 242 Inlaid Marquetry Table 
 Lent by Messrs. Gill & Reigate 
 
 BAY V. 
 Georgian Period. 
 
 246 Chippendale Chair 
 
 Lent by The Worshipful Company of Drapers 
 
 247 Mahogany Bureau Bookcase in the Chinese 
 
 Taste, 
 By Thomas Chippendale 
 Lent by Percival Griffiths, Esq. 
 
 248 Shield-back Chair 
 
 Lent by Percival Griffiths, Esq. 
 
 249 Chippendale Card Table 
 Lent by Percival Griffiths, Esq. 
 
 250 Shield-back Chair 
 
 Lent by Percival Griffiths, Esq. 
 
 251 Chippendale Tripod Table 
 Lent by Percival Griffiths, Esq. 
 
3« 
 
 Upper Gallery 
 
 252 The Lesson in Botany 
 By John Opie, R.A. 
 
 Lent by William H. Castle, Esq. 
 
 253 Chippendale Stool 
 
 Lent by Sir George Donaldson 
 
 254 Chippendale Urn Table 
 
 Lent by Percival Griffiths, Esq. 
 
 255 Trivet 
 
 Lent by Messrs. Shuffrey & Co. 
 
 256 Bracket Clock in Ebonised Case 
 
 Made by Robert Fleetwood, of London (1760- 1790) 
 Lent by Lieut. -Col. G. B. Croft Lyons 
 
 257 Set of Jars and Beakers of so-called 
 
 "Lowestoft" Porcelain (Chinese — Canton 
 — late 1 8th cent.) 
 Lent by H. Clifford Smith, Esq., F.S.A. 
 Sets of five pieces similar to this were made for the 
 Western market, and designed expressly for the decoration 
 of Georgian mantel-shelves. 
 
 258 Chippendale Mahogany Chair 
 Lent by W. H. Lever, Esq., M.P. 
 
 259 Chippendale Fire Screen 
 Lent by Percival Griffiths, Esq. 
 
 260 The Visit of Condolence 
 By John Opie, R.A. 
 
 Lent by William H. Castle, Esq. 
 
 261 Adam Armchair 
 
 Lent by The Worshipful Company of Drapers 
 
 262 Chippendale Settee 
 
 Lent by Percival Griffiths, Esq. 
 
 263 Armchair 
 
 Lent by The Worshipful Company of Drapers 
 
 264 John Wolcot, M.D. (Peter Pindar) 
 By John Opie, R.A. 
 
 Lent by Messrs. Shepherd Bros. 
 
 265 Fine Mahoganv Mask-head Two-flap Dining 
 
 Table 
 
 Lent by Percival Griffiths, Esq. 
 
 266 Panelling from an Old House in Soho, for- 
 
 merly the Residence of the French Am- 
 bassador 
 
 Lent by Messrs. Gill & Reigate, Ltd. 
 
Upper Gallery 39 
 
 267 Persian Rug 
 
 Lent by Messrs. Vincent Robinson & Co. 
 
 268 Mirror 
 
 Lent by Percival Griffiths, Esq. 
 
 269 Grate 
 
 Lent by Messrs. Gill & Reigate 
 
 END OF "HOMES OF THE PAST" SECTION. 
 
 270 Series of Photographs from " Old Cottages, 
 
 Farmhouses, and other Half-timber Build- 
 ings in Shropshire, Herefordshire, and 
 Cheshire, JJ by James Parkinson and E. A. 
 Ould 
 
 Lent by Messrs. Batsford 
 The "half-timber 55 houses of Shropshire, Herefordshire, 
 and Cheshire have a general resemblance to those of Kent 
 and Sussex, but they differ in many details. The oak 
 framing of the former is in larger pieces, for oak was very 
 plentiful in the western counties, and was not required for 
 building ships and smelting iron, as it was in the south-east. 
 The carving on the houses in the west is coarser and more 
 primitive, and curved pieces are much more used, and are 
 often made to form elaborate diapered patterns. The 
 chimneys that form such massive external features were 
 generally built of stone, but most of them have been rebuilt 
 in brick. 
 
 271 Armchair (second half of 18th cent.) 
 Lent by The Victoria and Albert Museum 
 
 272 Twenty-four Lithographs — " Mansions of 
 
 England in the Olden Time " 
 After Joseph Nash 
 
 Lent by The Victoria and Albert Museum 
 (For titles, see pictures.) 
 
 273 Interior of the Keep of Rochester Castle 
 By R. H. Nibbs 
 
 Lent by The Brighton Public Art Gallery 
 In the Middle Ages the architectural development of 
 domestic buildings was parallel with that of ecclesiastical 
 buildings. This picture at once suggests the interior of 
 some great Norman church. The keep of Rochester Castle 
 is one of the largest keeps in England. Most of these 
 keeps had but one room on each floor, with recesses in the 
 thickness of the wall, but at Rochester there were two rooms 
 
4° 
 
 Upper Gallery 
 
 on each floor. The keep has 'sometimes been described as 
 a mere stronghold for defence, but it is now believed that 
 the keep was the domestic part of the castle, and contained 
 the rooms used by the owner and his family. 
 
 274 Interior of Chapel, Haddon Hall 
 By Hanslip Fletcher 
 
 Lent by Arthur P. Nicholson, Esq. 
 
 275 Bishop's Palace, Wells 
 
 Drawn and lent by R. Phene Spiers, Esq. 
 
 276 Interior of Great Hall, Haddon Hall 
 By Hanslip Fletcher 
 
 Lent by A. E. Fleuret, Esq. 
 
 277 Haddon Hall — Entrance Court 
 Drawn and lent by R. Phene Spiers, Esq. 
 
 Haddon Hall, in Derbyshire, is perhaps the most famous 
 of the mansions of England. Its picturesque appearance is 
 due to its gradual growth, extending over some centuries. A 
 plan giving the dates of its various parts will be found in 
 the series showing the development of English mansions 
 (No. 2). Its castellated style with small windows and 
 simple masonry should be compared with the more advanced 
 style of Cowdray and Barrington Court. In these the 
 ampler windows and their nearness to the ground show that 
 the houses of English nobles were no longer castles built 
 for defence, but mansions built for comfort. 
 
 278 State Bedroom, Haddon Hall 
 
 Drawn and lent by Hanslip Fletcher, Esq. 
 
 279 Queen's Anne's Chamber, Tabley Hall, 
 
 Cheshire 
 Drawn and lent by Mrs. Fulleylove 
 
 280 Barrington Court, Somerset 
 By G. Matthews 
 
 Lent by R. Phene Spiers, Esq. 
 
 281 Front of Cowdray Castle 
 
 Drawn and lent by R. Phene Spiers, Esq. 
 
 282 Cowdray House, Sussex — Entrance to Buck 
 
 Hall 
 
 Drawn and lent by W. Flockhart, Esq., F.R.I.B.A. 
 
 283 Gravetye Manor House 
 By Alfred Parsons, R.A. 
 Lent by W. ROBINSON, Esq. 
 
 284 Cowdray House, Sussex — View of Courtyard 
 Drawn and lent by W. Flockhart, Esq., F.R.I.B.A. 
 
Upper Gallery 
 
 41 
 
 285 Bedchamber at Knole, Sevenoaks 
 By C. Green 
 
 Lent by Mrs. Fulleylove 
 
 286 Interior of Museum — Shakespeare's Home, 
 
 Stratford-on-Avon 
 Drawn and lent by Mrs. Fulleylove 
 
 287 Attic — Shakespeare's Home, Stratford-on- 
 
 Avon 
 
 Drawn and lent by Mrs. Fulleylove 
 
 288 Cottage at Brcadham Green, Surrey 
 
 Drawn and lent by Mrs. H. Allingham 
 
 289 Old Farm, Smarden, Kent 
 
 Drawn and lent by Mrs. H. Allingham 
 
 290 House at Cranbrook, Kent 
 
 Drawn and lent by Herbert Alexander, Esq.,R.W.S. 
 
 291 A Farmyard 
 
 By WlLMOT PiLSBURY, R.W.S. 
 
 Lent by Mrs. Wilmot Pilsbury 
 
 292 House at Cranbrook 
 
 Drawn and lent by Herbert Alexander, Esq., R.W.S. 
 
 293 In Pershore 
 
 By Wilmot Pilsbury, R.W.S. 
 Lent by Mrs. Wilmot Pilsbury 
 
 294 Streatley Mill at Sunset 
 By George P. Boyce, R.W.S. 
 Lent by Mrs. G. P. Boyce 
 
 295 Farmhouse Interior, Astwell, Northampton 
 By T. L. Shoosmith 
 
 Lent by A. H. de Bless, Esq. 
 
 296 Ludlow Church and The Reader's House 
 By George P. Boyce, R.W.S. 
 
 Lent by Matthias Boyce, Esq. 
 
 297 A Rustic Cottage 
 
 By Wilmot Pilsbury, R.W.S. 
 Lent by Mrs. Wilmot Pilsbury 
 
 298 Cottage at Cockington, South Devon 
 Drawn and lent by Mrs. H. Allingham 
 
 These two pictures show the characteristics of West 
 Country cottages. These do not show the richness and fine 
 design of those of counties like Kent and Sussex. Their 
 thick stone walls are rough and irregular, with rounded 
 
42 
 
 Upper Gallery 
 
 corners, and their thatched roofs droop and bend in the 
 most haphazard way. They have a charm of their own 
 when seen among rich trees and flowers. 
 
 299 Speke Hall, Lancashire 
 
 By J. Williamson, after Joseph Nash 
 Lent by The Victoria and Albert Museum 
 
 300 Interior of Cottage in Devonshire 
 By C. Green 
 
 Lent by Mrs. Fulleylove 
 
 301 Cottage at Tintinhull. Somerset 
 
 Drawn and lent by Mrs. H. Allingham 
 
 302 Crathes Castle, Deeside, Kincardineshire 
 Drawn and lent by W. Flockhart, Esq., F.R.I.B.A. 
 
 303 Staircase in Old House in Botolph Lane, East- 
 
 cheap (demolished) 
 Drawn and lent by Hanslip Fletcher, Esq. 
 
 304 Cottage at West Heybourne, Berks 
 Drawn and lent by Mrs. H. Allingham 
 
 305 Interior of Blacksmith's Shop, Campden 
 
 Drawn and lent by T. L. Shoosmith, Esq. 
 
 306 Series of Photographs from " Old Cottages and 
 
 Farmhouses in Kent and Sussex/' by W.G. 
 
 Davie and E. Guy Dawber, F.R.I.B.A. 
 Lent by Messrs. Batsford 
 Most of the old cottages in Kent and Sussex are built in 
 the "half timber" fashion, that is, of wood framing filled 
 in with wattle and plaster or with brick. 
 
 The elaboration and richness of these houses is a testimony 
 to a higher state of prosperity in these counties than exists 
 at present. This was owing to the working of iron, which 
 flourished greatly in the Weald during the sixteenth and 
 seventeenth centuries. The rapid consumption of wood as 
 fuel and the consequent destruction of the oak forests, to- 
 gether with the competition of the iron smelted by coal in 
 the north of England, caused the Kent and Sussex iron 
 industry to decline. It died out about the beginning of the 
 nineteenth century. Many examples of local ironwork may 
 be seen in these houses, the ornamental cast fire-backs being 
 specially fine. 
 
 The chimney stacks that form such prominent features in 
 these houses are generally built of stone up to the roof, and 
 above that were built in brick. These should be contrasted 
 with the chimneys in the series of Cotswold cottages. The 
 latter were of stone, as the stone of the Cotswolds can be 
 quarried in thin slabs suitable for building chimney shafts 
 
Upper Gallery 
 
 43 
 
 without excessive bulk. As the stone of Kent and Sussex 
 is not equally suitable for this purpose, the shafts were con- 
 tinued in brick above the roof line. 
 
 307 Alfriston Old Vicarage 
 By Muirhead Bone 
 
 Lent by Owen Fleming, Esq. ' 
 
 308 Old Cottage at Toys Hill, Kent 
 Drawn and lent by J. A. Hallam, Esq. 
 
 SERIES OF FORTY-EIGHT FRAMED PHOTO 
 GRAPHS, ILLUSTRATING THE DEVELOPMENT 
 OF ENGLISH DOMESTIC ARCHITECTURE. 
 
 Planned and arranged by Lawrence Weaver, Esq., 
 
 F.S.A., Hon.A.R.I.B.A. 
 Lent by "Country Life' 5 
 
 The purpose of the series of photographs of historical 
 houses is to illustrate the development in the arrangement 
 and treatment of English domestic architecture from Gothic 
 times until late in the eighteenth century. In the mediaeval 
 house the great hall was the core of the dwelling, and in- 
 deed during the earlier years of English civilisation its only 
 feature. Here ate and slept not "only the lord and his 
 family, but also the retainers. In the middle of the floor 
 was a great open fire, from which the smoke escaped as 
 best it could through a lantern in the timber roof. The 
 first development of this primitive arrangement was the pro- 
 vision at one end of .the hall of a kitchen used also as the 
 bedroom of the lower servants, and at the other end, a 
 " solar 33 or private apartments for the family. 
 
 The usual entrance to such a mediaeval house was at the 
 end of the hall furthest from the solar, and the essential 
 feature of this type of plan is the timber " screens " run- 
 ning across the end of the hall and dividing it from the 
 kitchen quarters. As the standard of comfort rose, the 
 solar and the kitchen were each elaborated into a series of 
 rooms, but the idea of the central hall to which the other 
 apartments were subordinate, continued with increasing 
 modification as years went by, until Inigo Jones built 
 Rainham Hall in 1636. That house marks the final de- 
 struction of the Gothic idea in house planning and the sub- 
 stitution for it of the Italian type, where the hall served 
 only the purposes of a vestibule, and where symmetry was 
 the prevailing note in the elevations. This change, how- 
 ever, came by a number of steps. It was heralded by the 
 introduction by Henry VIII. early in the sixteenth century 
 
44 
 
 Upper Gallery 
 
 of Italian workmen, who brought to our shores the idea of 
 the Renaissance of Classical architecture. The last three 
 quarters of the sixteenth century and the first quarter of the 
 seventeenth saw the gradual struggle between the old Gothic 
 and the new Classical ideas both in the plans and archi- 
 tectural treatment of the house. The porch of Cranborne 
 Manor is a typical example of the Classical treatment of a 
 detail of building, while the main body of it remains 
 markedly Tudor in character. Montacute House, Wollaton 
 Hall, Hatfield House, and Blickling show the gradual 
 decline of Gothic traditions. The reign of Henry VII. 
 may be said to have inaugurated the English country house, 
 for before that date considerations of military defence 
 limited both plan and treatment. Pitchford Hall, and 
 Speke Hall show the development of building in timber 
 which characterises Lancashire and Cheshire. In the eastern 
 counties, on the other hand, red brick was the traditional 
 material, while such houses as Forde Abbey, Dorset, reveal 
 the delight of the mason in the stone which his district so 
 freely yielded. Though the Tudor houses are often on a 
 scale of great magnificence, it is the Elizabethan and 
 Jacobean periods with their rise of great legal and merchant 
 families, laden with wealth given by adventure or state- 
 craft, and inherited from the participants in the monastic 
 spoils that the supreme monuments of wealth and magnifi- 
 cence like Montacute owe their existence. It has already 
 been said that Rainham Hall marks a great point of de- 
 parture. Coleshill, built by Inigo Jones, and Tyttenhanger, 
 probably designed by his kinsman John Webb, contain the 
 marks of Classical influence while retaining English quali- 
 ties. The same may be said of the houses built by Wren 
 and his school, such as Belton and Groombridge Place. 
 The next great change comes from the men more rigidly 
 trained in Italian taste, like the great Lord Burlington, 
 Kent, Colin Campbell, and Sir John Vanbrugh, whose 
 massive taste can be seen at Holkham, Houghton, Castle 
 Howard, and Blenheim. With them all thought of con- 
 tinuing English tradition had ceased, and this prepared the 
 way for the still more academic work of the brothers Adam 
 nnd of men like Carr of York, who built Harewood in I75Q- 
 It should be borne in mind that the spirit of the building 
 of Wren and of those who followed him was essentially 
 Roman. Sir William Chambers, the architect of 
 
 Somerset House, has been called the last of the Romans. 
 With the revival of Greek motives, which began in the third 
 quarter of the eighteenth century, this series of photographs 
 does not deal, as it was a divergence too remote from any- 
 thing that can be called English building. 
 
Upper Gallery; 45 
 
 309 Haddon Hall — The Hall (14th cent.) 
 
 310 Markenfeld (14th cent., with Elizabethan 
 
 Gatehouse) 
 
 311 Lumley Castle (14th cent.) 
 
 312 Hever Castle (15th cent.) 
 
 313 Cotehele House, Cornwall (late 15th cent.) 
 
 314 Ockwells Manor (1450; Tudor) 
 
 315 Pitchford Hall, Shropshire (1470 ; late Gothic) 
 
 316 Oxburgh Hall (1483 ; Tudor) 
 
 317 Horham Hall (1502 ; Tudor) 
 
 318 Sutton Place, Surrey (1525 ; Tudor) 
 
 319 Barrington Court (Tudor) 
 
 320 Speke Hall, Lanes. (16th cent.) 
 
 321 Compton Wynyates (Tudor) 
 
 322 Forde Abbey, Dorset (1528 ; Tudor) 
 
 323 Little Moreton Hall (1559; Elizabethan) 
 
 324 Wollaton Hall (1580-8; Elizabethan) 
 
 325 Shaw House, Newbury (1575-1581; Eliza- 
 
 bethan) 
 
 326 Montacute House (1580; Elizabethan) 
 
 327 Montacute House (1580; Elizabethan) 
 
 328 Bradfield, Devon (1592-1604; Elizabethan) 
 
 329 Bradfield, Devon (1592-1604; Elizabethan) 
 
 330 Hatfield House (1606 ; Jacobean) 
 
 331 Hatfield House (1606; Jacobean) 
 
 332 Hatfield House (1606 ; Jacobean) 
 
 333 Hatfield House (1606; Jacobean) 
 
 334 Blickling Hall (1615-1627 ; Jacobean) 
 
 335 Blickling Hall (1615-1627 ; Jacobean) 
 
 336 Cranborne Manor — Porch (Jacobean) 
 
 337 Holland House, Kensington (1610; Jacobean) 
 
 338 Coleshill, Berks (1650; Inigo Jones) 
 
46 "Upper Gallery 
 
 339 Tyttenhanger (1655; School of Inigo Jones) 
 
 340 Tyttenhanger (1655 ; School of Inigo Jones) 
 
 341 Rainham Hall (1636 ; Inigo Jones) 
 
 342 Groombridge Place (1670; School of Wren) 
 
 343 Belton, Grantham (1685-9; Wren, reputed) 
 
 344 Belton, Grantham (1685-9; Wren, reputed) 
 
 345 Belton, Grantham (1685 9 ; Wren, reputed) 
 
 346 Petworth (1682 ; Grinling Gibbons) 
 
 347 Chatsworth '1687; (? Wren and) Talman) 
 
 348 Stoke Edith (1697-9 > School of Wrert) 
 
 349 Easton Neston (1702-13 (? Wren and) Hawks- 
 
 moor) 
 
 350 Blenheim (1705; Sir John Vanbrugh) 
 
 351 Houghton Hall (1722-35; Colin Campbell and 
 
 Ripley) 
 
 352 Castle Howard (1712-1731; Sir John Van-. 
 
 brugh) 
 
 353 Holkham (1725-34; Burlington Kent and 
 
 Brettingham) 
 
 354 Wentworth Woodhouse (1740; Flitcroft) 
 
 355 The Vyne, Basingstoke (1750; Chute, an 
 
 Amateur) 
 
 356 Hare wood (1759 ; Carr of York) 
 
 357 Series of Photographs from " Old Cottages and 
 Farmhouses in Surrey," by W. G. Davie 
 and W. Curtis Green,/ F.R.I. B. A. 
 Lent by Messrs. Batsford 
 Though rather less elaborate, the general characteristics 
 of the cottages of Surrey are very similar to those of Kent 
 and Sussex. The older ones are almost all built of timber- 
 framing filled in with wattle and plaster or with brick. In 
 many cases the timber-framed walls have been covered with 
 vertical tiling. Houses with walls entirely of brick are 
 generally of later date than those with timber-framed walls. 
 Brick was at first used for chimney stacks only. By the 
 time of Charles II. brick had come into general use for 
 
Upper Gallery 
 
 4? 
 
 walls. Very elaborate ornamental brickwork may be seen 
 in houses in Godalming. 
 
 Roofs were originally covered with thatch or wood 
 shingles ; in almost all cases the original roof-covering has 
 been replaced by tiles. The oldest tiles were not square, 
 but rounded like the scales of a fish. There are many 
 reasons why an old tiled roof looks more picturesque than 
 a new one. The old tiles were all made by hand and were 
 thicker and less even in size than modern ones, and as the 
 old rafters were squared by hand and the laths were of rent 
 oak, the surface on which the tiles were placed was uneven 
 to start with. 
 
 358 Spit-jack 
 
 Lent by Messrs. Shuffrey & Co. 
 
 359 Pot -crane 
 
 Lent by Messrs. Shuffrey & Co. 
 
 360 Two Planes (dated 18th cent.) 
 Lent by Mrs. Oswald Barron 
 
 361 Imaginary 16th Century Country Inn (model) 
 Made and lent by Charles Wade, Esq., A.R.I.B.A. 
 
 Very often those who have taste and imagination in design 
 have not skill to do work requiring great neatness of touch, 
 and those who have this neatness lack the power of design. 
 This model shows an exquisite, combination of the imagina- 
 tion in design and neatness in execution. 
 
 362 Country House by a River — 
 
 (a) Plan 
 
 (b) Elevations 
 
 (c) Sections and Elevation 
 
 (d) (e) Perspectives 
 
 Drawn and lent by Charles Wade, Esq., A.R.I.B.A. 
 Though this £C House by a River 55 is placed here among 
 the old homes, it does not show an old house, cbut is a work 
 of pure imagination wrought by a designer who has intense 
 sympathy with the old cottage architecture of England. 
 " The light that never was on sea or land 55 plays over Mr. 
 Wade's beautiful drawings and though their colour is so 
 pure and bright they create an atmosphere of charmed 
 stillness. 
 
The .thanks of the Trustees are due to a large number of 
 people who have helped the Exhibition in various ways. In 
 connection with the Upper Gallery they would specially 
 thank Mr. J. H. Gill for his very valuable help with the 
 furnished bays, Mr. H. Clifford Smith for writing notes, 
 Mr. Lawrence Weaver for planning and arranging the 
 series of photographs lent by " Country Life," and in con- 
 nection with the Lower Gallery, Mrs. Camebus for help 
 with sewing, Mr. Stanley Drew for arranging exhibit 
 No. 81, Miss Gordon for arranging the Stepney Rooms, 
 Mr. L. G. Pearson for planning -the " Flat for a Single 
 Person," Mr. Percy Smith for the frieze of mottoes, Mr. 
 F. W. Walter for (he poster, Mr. C. C. Winmill for 
 designing and superintending the models of house and 
 bedroom in centre of Gallery. 
 
 .... X 
 
 D 
 
 P. & H.,Typ.,Lond. 
 
"Srcbttectnral"- 
 
 Mr. Cecil C, Brewer, 
 Mr. Stanley T, Drew, 
 Mr. Owen Fleming. 
 Mr. T. Alwyn Lloyd, 
 Mr. Geoffrey Lucas, 
 
 a.r.i.b.a. 
 Mr. Lionel Pearson. 
 
 Sub-Committee. 
 
 Prof. Beresford Piti, 
 
 F.R.I.B.A, 
 
 Mr. M. EL Baillix Scott, 
 Mr, R. M. Taylor, 
 Mr. H, A. Welch, 
 Mr. C. C, Wxnmill, 
 
 "Domes of tbe pnst " Sub-Committee, 
 
 Mr. J, T. Herbert Baily, Mr. E. L. Lutyens, f.r.i.b.a,, 
 Mr. J. H, Gill, f.s.a. 
 Mr. Seymour Lucas, r.a., Mr. Clifford Smith, f.s.a, 
 f.s.a. Mr, Lawrence Weaver, 
 
 f.s.a., hon. a.r.i.b.a. 
 
 44 Jllustratione n Sub-Committee. 
 
 Mr. Thomas Adams. Prof . Beresford Pite, 
 
 Mr. Ernest Betham, f.rxb.a. 
 
 Mr. Brook Kitchen, Mr, Raymond Unwin, 
 
 F.R.I.B.A. F.R.I.B.A, 
 Miss LUMSDEN, 
 
 " Domestic JEconomi? " Sub-Committee* 
 
 Miss ALLON, 
 Mrs. Cox. 
 Miss L. J, Clarke. 
 Mr. Stanley T. Drew. 
 Mr. F. H. Durham. 
 Miss Finlay. 
 Miss C. R. Gordon, 
 Mr. G. Gummer. 
 
 Mrs. Leon, 
 
 Miss Mary Leicester, 
 Miss E. A. Meadows. 
 Mrs. Millington. 
 Miss H. J, Plowright. 
 Mrs. Scott, 
 Mr. P. A. Wells. 
 Mr. John Williams. 
 
 44 f urnf ture n Sub-Committee* 
 
 Mrs. Cox. 
 
 Mr. Stanley T. Drew. 
 
 Miss Finlay. 
 
 Mr. Ernest Gimsqn. 
 
 Mr, G. Gummer. 
 Mr, Ambrose Heal, 
 Mr. P. A. Wells. 
 
UPPER GALLERY. 
 
 LECTURES will be given a.t 8,30 p.m. on ' ^^ily*^ 
 
 Saturday, June 10, by Lawrence Weaver, Esq., F.S.A. 
 
 i Subject — " The Architectural Development of the 
 English Home. 5 ' > > 
 
 Saturday, July 1, by Raymond Unwin, Esq.,F.R.I.B.A. 
 • \ Subject*-'? Town Planning ** (Illustrated). $|fj| 
 
 TALKS on the "Homes of the Past" by John JK. Gill, 
 Esq., and H. Clifford Smith, Esq., F.S.A. .t \ ' 
 
 LOWER GALLERY. C , 
 
 DEMONSTRATIONS IN BASKET MAKING 
 
 Every Monday and Wednesday at 7.30 p.m., beginning 
 Wednesday, June 7- 1 , : - 
 
 " Living pictures in the home » 
 
 (Cooking, Household Work, etc., etc.) ( v , , i y • 
 Will be given by Students or the National 
 ' , < Training School (by the kind permission of -the 
 Principal, Mrs. Charles Clarke), beginning on 
 Thursday, June 1, at 7.30 p.m., and on every sub- 
 , sequent Tuesday and Thursday at 7.30 (except on 
 Thursday, June 22, Coronation Day) during the 
 U « course of the Exhibition. 
 
 Also by Former Students of the Sni John Cass 
 - v • t . Technical Institute at 7.30 on Friday, June 9, 
 and Friday, June r6. 
 
 FORTHCOMING EXHIBITIONS. 
 AUTUMN, roil—" OLD LONDON." 
 
 SPRING, r9i2— " SCOTTISH ART " 
 (including a collection from the Scottish Modern 
 
 {'tM'- .* • Art Association), ». "f;Vvf^