ill»lt5'll^Iir[.l., ;;^v,Lr'. ' 'pro CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILLIAMS SAGE Date s Due — ^VL Cornell University Library PN 3206.A79 Beauty's awakenini 3 1924 027 189 996 o..,»,i XI Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027189996 BEAVTYJT AWAKENING AMAiC^E OFWlhfTER AND OF JPRING PRESENTED BY THE MEMBERJ OF THE ART WORKER^ GVIID THE 5TVDIO 5VMMER NVMBER. v:^~ iiavicToi^i;^^ W0TM1N3TER Geo. Rowney & Co!s Registered SKETCHING CASE at Reg. N"o. 270111. INCLUDING COLOURS, BRUSHES, & PENCIL, Without Increase of Ordinary Thickness, HIS Case, from its great coaveriience and portability, is particularly adapted to the use of Artists and Amateurs desirous of having the materials at hand for a hasty Sketch without being encumbered with the weight of an ordinary box. MADB IN THE TWO WOZZOWUfQ SIZES: " 8vo Impl." containing a 12-leaf Whatman Block, 10 in. by 7 in. , and a Pocket for Loose Sketches, Pencil, Two Sable Hair Brushes, andTwelve Colours, viz. : — Permanent Yellow, Yellow Ochre, Raw Sienna, Vermilion, Light Red, Crimson Alizarin, Burnt Sienna, Burnt Umber, Madder Brown, Prussian Blue, French Ultramarine, and Hooker's Green No. 2. Price 15s., Fitted Complete. "16iHO. Impl." containing a 12-leaf Whatman Block, 7 in. by 5 in. and a Pocket for Loose Sketches, Pencil, Two Fitch Hair Brushes, and Nine Colours, viz. : — Permanent bellow. Yellow Ochre, Raw Sienna, Vermilion, Light Red, Crimson Alizarin, Burnt Umljer, Prussian Blue, and Permanent Blue. Price lOs. 6d., Fitted Complete. A Japanned Tin Palette opens out when the Case is in Use, as shown in above Illustration. xakufactu.^^ QBO. ROWNEY & CO., 64 Oxford St., London, W. To be obtained from all Stationers and Artists' Colourmen throughout the Kingdom, REEVES' NEW BOOKLET ENTITLED "Interesting to Sketchers" CONTAINS A NUMBER OF USEFUL THINGS ^AND IS POST FREE REEVES' ARE THE UP-TO-DATE & AHEAD ARTISTS COLOURMEN REEVES & SONS, L J|)_ 53 MOORGATE ST., BANK OF ENGLAND 13 CHARING CROSS RD , NATIONAL GALLERY 16i HIGH STREET, KENSINGTOJ^ 8 EXHIBITION RD,, SOUTH KENSINGTON 140 HIGH ST., ST. JOHN'S WOOD. Artistic Electric {Registered) Waltham's ^" " ■ "^ ETC. BELL PUSHES — WALTHAM iilSiUi\.% Co FORMEDieAL ELECTRIC LIGHTING FIVE S H O W R O O M S AT 46 York St. Buckingham Gate London, S.W. Telegrams : ' ' Switchboard, London. (2^^^^ 5^ ^^^^.^ p^^f, station) UCCRS. LTD. ''° WILSONS' S f^p New 'Bond Street^ W. ■Ci-O'Cy ARTISTIC DAMASKS from Designs by WALTER CRANE, LEWIS F. DAY, ANNING BELL, Gfc. Quality irreproachable. Prices within the reach of all. Catalogue with 6o Designs free FINE CAMBRIC HANDKERCHIEFS EXQUISITE TEA CLOTHS Ji jt ENDURING SHEETING tsf LINENS REASONABLE PRICES J. Jk J. J. During (^Annual Sale, commencing June 26, reductions, 10 to 50 per cent., are made. Special Catalogue jf- J- ^ ^ J- g;:;;p»;nas»..|ga=; 159 NEW BOND STREET AD. II GRAPE & POMEGRANATE, WITH CHASE BORDER. By Waltir Cranj: Hand Loom Double Damask Cloths from IQ/- J?^ ^ Lar^e^t ^tock of cafv^ 05k forv\thv/c it) tlx vvbrld. TotfenhaiD Cbcift 2oad tor^donW THE ROYAL COPENHAGEN PORCELAIN Danish Ceramic Art Vases ar Figures ar Plaques BY EMINENT ARTISTS SUITABLE FOR PRESENTATION PURPOSES Be8tfflatfon of ffion= secutlve ipbases of iprogtessive ffl)ovement0. Illustrated with 05 full-page Photo-Mezzotint Engravings, reproduced from the Original Negatives, and containing more than 1600 Half- Tone Figures of Horses, Dogs, Elephants, Lions, and other Animals, while engaged in Wallting, Galloping, Leaping, or some other act of motion, and of Birds while flying. By EADWEARD MUYBRIDGE. This work contains a comprehensive selection of subjects from the' '> results of an investigation which has, almost exclusively, engaged' the attention of the Author for more than twenty.six years, and will betlf ' great value to the Biologist, the Physiologist, the Veterinariaiij the Physicist, and to the student of Najture generally, no less than to the Artist; . . The illustrations include more than 1600 figures of horses, aogs, elephants, camels, lions, kangaroos, pigeons, vultures, or other animals or birds, all engaged in walking, galloping, leaping, kicking, flying, or some other motion, accompanied by descriptive text in which the hitherto complex problems involved in the movements are distinctly elucidated. — Crown 4to, 10/6 net. m illustrated Record or tbe national jirt Competition, l$96°7. Compiled and Edited by JOHN FISHER, The present work contains, in the very best style of execution, collo- type representations of a selection of the best andinost characteristic . designs of work done for the National Art Competition, 1896-7. Th& designs extend over every Department of Art, as applied Mt decorative purposes — studies from life, portrait and figure drawing, models of the £^ure from life in bas-reUef and in tbe roimd, studies of drapery, illustrations of historic ornament and architectural details, designs for stained glass, metal work, fabrics of every kind, designs for wall papers, for mosaics and tiles, for carpets and lacei with many other cognate departments of art work. CHAPMAN AND HALL, Ltd., London. Telephone: 5158 Gerard* : r Sl#piD iiH^iAVmN© miMiim'^^ 5t jLfijieoiHi.W. The Leading House of Engravers ASSOCIATED WITH -^^^ The Art Photogravure Co., Ltd. The Art Photogravure Co., Ltd., have laid down a special plant, and combined with their unrivalled Photogravure process, is now able to compete with all the leading Continental Houses for quality and delivery. * * * Large Plates a Specialty. * Extensive Branch Works at Strode Road, Willesden Green, and 40 Rue de Paradis, Paris, and Miksa Utza, 8, Budapest. SBIfD POR SAMPLES. AD. IV PRICB MODBRATB. QUAUTY UfiSXCBLLBD. PROMPT DBLIVBRV, The Hob Basket Grate COMBINING THE LATEST Constructional Improvements With Quaint & Aftistic Appearance GLAZED BRIQUETTES & TILES IN BEAUTIFUL SHADES OF COLOUR Ji COPPER, IRON, OR BRASS CANOPY ^ ^ ^ ^ Manufactured by . . I^R. H. ^ J. Pearson, Ltd. 141, 143, 145, High Street Netting Hill Gate, London Illustrated Catalogues op Application W. The Chiswick Shakespeare. Illustrated by BYAM SHAW. Printed at the Chiswick Press, in pott 8vo, on special paper, handsomely bound in linen, with gilt . decoration, is. 6d. net per Volume, or in limp leather, 2s. net. Few copies on Japanese vellum, to be sold in sets only, 5s. net per Volume. Each Volume will contain Six Full-page Illustra- tibhs, as well as Head and Tail Pieces, by BYAM SHAW, and an Introduction and Glossary by JOHN DENNIS. Hamlet. \Pipw Ready. Merchant of Venice. \_^ow Ready. As You Like It. [^w Ready. Othello. [Ready July 15. Further Volumes will appear at Monthly Intervals. *ji5* Illustrated Prospectus of this Series post free on application. Lc^NDON : GEORGE BELL & SONS, York St.Covent Garden | AD. V THE STUDIO "THE STUDIO" HAS THE LARGEST CIRCULA- TION IN THE WORLD OF ANY MAGAZINE DE- VOTED TO THE ARTS j^*' t^^ <^^ Some Press Opinions " The best of all magazines of art." Daily Mail. , " The most successful art magazine in Europe." Daily Chronicle. "The excellence of The Studio is persistent. Month after month the pages of this magazine, so creditable to all concerned, and an irrefutable argument that art in England is not a mere name, offer a new surprise." — The AcaSemy. " No other magazine gives such a variety of lithographs, colour-prints, and various forms of original work as The Studio." — The Star. " For profusion of illustrations there is Jio art magazine that can compare with The Studio." Yorkshire Post. " A marvel of cheapness." — Hearth and Home. " Indispensable to every one who wishes to keep in touch with modern art movements." — Globe. " It is hot only in the front rank, but consider- ably in advance of its competitors." Liverpool Review. " The Studio has proved epoch-making in its way in pure art-journalism, waking up the old monthlies from their dreary lethargy." — Sketch. " The Studio is invariably good, full of good reading, honest and cultured criticism, and excellent illustrations ... a model of elegance and taste." Birmingham Daily Gazette. " The most successful art magazine in the world." — National Observer. ' "From the moment The Studio came amongst us we found ourselves in possession of a magazine which had had no forerunner and which has had no rival. Tliere is nothing to compare to it — ^it is far and away beyond everything else. . . . The Studio has done more for the right diffusion of the right art in England than all the other maga- zines put together, and more than most of the schools. ... I believe that The Studio has done more for the beautifying of the home than any other part of the great machinery which found its motive power in the vast art movement of our times; and it has done it because it has been guided by the best taste and motives. . . . Were I cut off from all illustrated magazines but one, I would choose, feverishly choose, The Studio." Mr. Hal Dane in St. PauPs. " The place which The Studio has supplied in our art periodical literature would now seem sadly blank without it. It began well, and it has gone on improving, widening the range of its observa- tion, broad and catholic in its sympathies, and increasing in the number, beauty, and variety of its illustrations. It is a highly sensitive mirror, reflecting endless phases of art, and commenting on them, not in that tone of offensive self-conscious superiority into which art critics, more than others, are liable to fall, but with an endeavour to under- stand and interpret the aim of the various artists." Birmingham Post. " Le premier magazine artistique du monde." Le Figaro. tfiF^ O^ v^ LONDON : 5 HENRIETTA STREET, COVENT GARDEN. NEW YORK : 140 FIFTH AVENUE. PARIS: 50 CHAUSEE D'ANTIN AD. VI NOJV OPEN Hotel Great Central LONDON Close to the Great Central Terminus and within a few minutes' of Bond Street, Hyde Park, the Marble Arch, Club and Medico-land, the Art World, and other fashionable centres of the West End Hotel Great Central Most luxuriously appointed ; dainty cuisine ; moderate charges. Tariff on application Rooms or Suites of Apartments can be booked, also en pension Telegraphic Address : "■ CENTELLARE, LONDON" Furnished and Decorated by MAPLE AND CO. Hotel Great Central AD. VII Orders by Post. mipjcn&!miW GENUINE GLDOM FUPNITURE. ,— ,_inejled backs, KrpJI ..js.shiDed kcs.ttlin dub feel ;a[ fined vnrh \oosc ■' Opn _,_ __ ^ _ j>ecu5hi eovered will! Genu ncAntii rimscn bilh Dcunosk teffi-^^esfesif tScS'r . . , . Tne cmer-po ■ ,^-ea'a'Ujpboard,endceca'DU .-_ drnfidoorr-nonefled tfoirw-dsptth. wenitsqplt; fefidfie filiedloch ■ U' Y-^oint-ntKcru -eKutcheon; 49-\50exh ■ long „ \ Price £7' 10 'O each „ , „ 9/6e«h ) S rteW ILLUSTBATEB BOOKOf&LES Of ANTlaUES NiWREAre. HAMPTON & SONS' Coun- try Order Deptmt. is equipped with every facility for the imrtiediate despatch of priced . patterns of any description of Fabrics, and for promptly executing, with the utmost care, all' orders received by post. HAMPTON & SONS pay- Carriage to any Railway Station in the United King- dom on purchases over 20s. Patterns Free. fe^ 9^ 9^ For PALLMALL J^ST TRAPALOAR SQUARE SW HAMPTON & SONS prepare, free of charge. Schemes and Estimates for Fur- nishing throughout, in an original manner, or in any of the traditional styles, at the least outlay compatible with thoroughness. ^ ^ ^ tAe best values now obtainable in every department of House Furnishing see Hampton & Sons' New Catalogues, the Illustrations in which are ^Photographic Reproductions of the actual articles now on view in their Showr-ooms in Pall Mall East. Longden & Co. lonlbon ©fSte 447 Oxford Street W. Makers of Grates Mat\s Phoenix Foundry Sheffield r Fenders Fireirons Wrought-Iron Work Ornamental Brass and Bronze Work AD. VIII BEAUTY'S AWAKENING, A MASQUE OF WINTER AND OF SPRING. 7 7 ^~^ t THE 5TVDIO 5VMMER NVMBER. 1399 f^yr »£>vKey-s Gio.M.'i 1,1 iKiiii'I) YTlP.HHVH'iU VII AH . I.'' THE EPISTLE DEDICATORY: TO THE RIGHT HONOURABLE SIR JOHN VOCE MOORE, KNIGHT, LORD MAYOR OF LONDON. »E who have gone so far as to devise and con- trive, invent, arrange, and finally bring forth, (with what completeness we may), this our : Masque, have even dared further in our bold- nesSj&have added to our so-great risk another ' as weighty and considerable; which is, that we have ventured to ask (& by your kindness have obtained) leave and permission to set our enter- tainment before yourLordship,in the presence of the Sheriffs, Aldermen, & leading Citizens of London, and in your own and ancient Guildhall. WHICH favour, asked by us, and granted by you, goes far in our sight, we would say, to demonstrate two things. First, that the City (in the persons of your Lordship, & of those who aid you in its governance and careful administration) is as willing to take to-day, as in times past, the position of a chief and foremost supporter and friend to those working in the Crafts and Arts we practice and pursue. And, secondly, the permission to thus appear before the body of which your Lordship is the head, encourages us,the Art Workers' Guild, to think that that intimate connection between the various Crafts we ex- ercise and the City, that was wont in other times to subsist, is perhaps to be revived and to obtain once more. And this hope we would urge as ex- cuse and cover for presenting before you, this night, our Masque, & of thus re-instituting a custom that prevailed in other and earlier times, though now fallen into unhappy desuetude. FOLLOWING, though with no too hard and rigid a consistency, the method and manner of the Masque of older and earlier days, not only in the general ordering of our action, but in the particular of the shapingof this Epistle Dedicatory, we would through the means of this latter thank your Lordship for the occasion granted to us for putting forth our Enter- tainment here and now. Our hope, beforehand, is — with Cicero — (de Orat. I., 3) Agere cum dignitate etvenustate, and at the close to be able, on your mandate, to say with Plautus — Operant ludo etdelkiee dedimus. WHAT meaning there is in the Allegory that underlies our Action is not far to seek, nor is our Dream an empty, baseless show. We have striven to set forth as well by Poetry and Music as by the various Arts that appeal a2 3 to and address the eye, that love (on the one hand) of London, our City and (on the other) of the Art we follow, which makes us hope that a day and time will come when, as our City is the greatest in the world, so she shall be the most beautiful, and that, pre-eminent now in commerce, ■So then shall she also be the leader of cities in the symbolizing of her Greatness by the Beauty of her outward Show. ' MOVED and animated, then, by suchahope, we in humbleness and yet in confidence lay before your Lordship oiir Masque, THE PRESENTERS AND CONTRIVERS. TO THE CANDID AND GOOD NA- TURED AUDIENCE. MASQUE is not a Play and was not a Play, nor could be mistaken for one when the two [existed side by side, and we who are submit- ' ting the present Pageant & Allegory to your ' indulgence, wish, at setting out, to insure that you shall not expect things which are not in- cluded in our aim. THERE are certain things more necessary to Masque than they are to Drama,such as Poetic and Ethic Aim, Beauty of Design and Orna- ment.Ben Jonson was writing masques that cost thousands of pounds (even in those days) to produce, while Shakespeare was acting against a ' back cloth;' or not even so much, as we now use the word. THE Drama and the Masque did not interchange or overlap; though, later, as we know, a certain Mr. Puff blended a little of the Masque with his tragedy — " a new fancy you know — and very useful in my case." May we express a hope inpassingthat if our Masque do not set the Thames on fire we may at least succeed in "keeping him between his Banks." The digression may be pardoned : the allusion was too obvious and too tempt- ing for our scribe to resist. AND though now in our days the Stage hasborrowed the Gorgeous Gar- ment of Masque, we feel that there is something still possible to do when Artists who are Designers, but who do not confuse their aim therein with too much attempt at realism and illusion, try to produce an allegory of the Beautiful which is their particular sphere and concern. DO not, therefore, we would ask you, expect stage illusion or stage per- fectness from us — we confess ourselves Amateurs & Pupils in those things ; we rather present to you in awkwardly acted shape those Dreams & Fan- cies which usually form the subject of our Brush and Chisel or other the noble Tools of our Craft. DESIGN, then, instead of Illusion: something good (we hope) in Form and Colour and Fancy, & something perhaps worth thought in Allegory and Moral Meaning. AND here let us make a confession : That although the whole scheme is set forth as the wish of us all, yet the several Episodes have been placed in the hands of individuals ;& these (artist-wise) have been left very much to themselves in the carrying of their ideas into being. IN looking at our Patchwork therefore, do not let it jar if scenes differ in character, perhaps with somewhat sudden change; our aim being to pro- aS 5 duce something wherein, as in a Mediaeval Building, the surprising freak of fancy and generally the Unexpected "spoils the proportion and unity of the whole," as he would say who is used to work all things out by square and rule, — "makes the human interest of the whole "we would rather say who hold that Man should be Man. So in judging of our Patchwork (as we have styled it),judge itasyouwouldjudgeNature'sMosaicsofthings Different; for the Sea is not the Land, nor Rocks Trees, yet they go to- gether. AND even if any thing offends you let this thought allay your anger; that it was deemed better to let some strong individualities pass than to ham- per an Artist, once his task was assigned to him. There is (we will freely allow it) many a sly hit, or for the matter of that many a bold one, at this or that feature of our many coloured age, which some of us,ifwe set our- selves to be too sensitive, would feel the Sting of upon our own Backs. And yet the fraternity of our confraternity we are assured will suffer no diminishing by the thrust at these things made by one of the family circle. AFTER all, that will live which will live; and to put things upon their trial is to put them also upon their mettle; which is good and welcome to all things that have mettle and are worth their trial. SO we feel it, & so we would ask the indulgent Audience to feel it, when the whip-lash goes round, thinking no more seriously of it than of the Jester's Bladder of Peas and Sword of Lath that wakes the Duller ones in some assembly where dulness is forbid. AND so we leave ourselves to your Mercy. "TIME." AN ETCHING BY WILLIAM STRANG BEAUTY'S AWAKENING, A MASQUE OF WINTER AND OF SPRING, WRITTEN, DESIGNED & CONTRIVED BY THE MEMBERS OF THE ART WORKERS' GUILD, AND FINALLY PRESENTED BY THEM IN THE GUILDHALL OF THE CITY OF LONDON, BEFORE THERT.HON.THELORDMAYOR, SHERIFFS, ALDERMEN, & COM- MON COUNCIL, ON THE TWEN- TY-NINTH DAYOF JUNE,EIGHT- EEN HUNDRED AND NINETY- NINE. A Citizen (leaping upon the stage) : Hold your peace, good'man boy I Speaker of the ■Prologue: What do you mean, sir? Cit,: That you have no good meaning: Down with your title boy, down with your title ! ■&. ofProl.: Are you a member of this noble city? C/l^.;Iam. S. ofProl.: And a freeman? Cit.: Yea and a grocer. S. ofProl.: So, grocer, then, by your sweet favour we intend no abuse to the city. ^ Cit.: No, sir! Yes, sir: ifyou were not resolved to play the Jacks, whatneed you study for new subjects purposely to abuse your betters? Why could jiot you be contented,as well as others,with" The Legend of Whittington" or the "Life and Death of Sir Thomas Gresham, with the building of the Royal Exchange," or the " Story of Queen Eleanor, with the rearing of London Bridge upon woolsacks?" S. ofProl.: You seem to be an understanding man: what would you have us do, sir? Cit.: Why present something notably in honour of the commons of the city. — Beaumont AND Fletcher: The Knight of the Burning Pestle. ' THE CHARACTERS OF THE MASQUE. TIME: the Speaker of the Prologue. THE PROLOCUTOR. THE FOUR WINDS. THE FOREST LEAVES,DECEMBER,MARCH,& BUTTERFLY. THE MUSICIANS IN THE DANCE OF THE WINDS. TRUEHEART: the Seeker. HOPE. FORTITUDE. FAYREMONDE: the Spirit of all things beautiful. MALEBODEA: a Witch. ASCHEMON: a Dragon. THE SEVEN LAMPS OF ARCHITECTURE: in attendance on Fayremonde : THE LAMP OF SACRIFICE. THE LAMP OF TRUTH. THE LAMP OF BEAUTY. THE LAMP OF POWER. THE LAMP OF LIFE. THE LAMP OF MEMORY. THE LAMP OF OBEDIENCE. CLIO: the Muse of History. THE FAIR CITIES OF THE WORLD: who appear in vision and in pageant before Fayremonde. THE FAIR CITY OF THEBES. THE FAIR CITY OF ATHENS THE FAIR CITY OF ROME. THE FAIR CITY OF BYZANTIUM. THE FAIR CITY OF FLORENCE. THE FAIR CITY OF VENICE. THE FAIR CITY OF NUREMBURG. THE FAIR CITY OF PARIS. THE FAIR CITY OF OXFORD. 9 IN THE PAGEANT OF THE FAIR CITIES & IN ATTEND- ANCE UPON THEM. RAMESSES II: in attendanse upon the fair City of Thebes. PHEIDIAS : in attendance upon the fair City of Athens, together with two Youths from the Lysis of Plato. AUGUSTUS^ in attendance upon the fair City of Rome, together with three Youths from Mantegna's Triumph of Cssar. CONSTANTINE: in attendance upon the fair City of Byzantium, together with St. Helena the Cross-bearer. DANTE and CIMABUE: in attendance upon the fair City of Florence, together with two Pages as train-bearers. TITIAN: in attendance upon thefairCity of Venice, togetherwith a Doge, two Brides of the Marriage of the Adriatic, and Hal- berdiers. ALBERT DURER: in attendance upon the fair City of Nurem- burg, together with two Train-bearers and a group of Crafts- men from the workshops of Adam Kraft, Hans Sachs, P&ter Fischer, and Viansen. ST. LOUIS & JOAN OF ARC: in attendance upon the fair City of Paris, together with a Herald, and three female figures sym- bolising the Arts and Graces of Life. KJNG ALFRED and WILLIAM OF WYKEHAM: in attend- ance upon the fair City of Oxford, together with two Acolytes, and a group of Scholars. LONDON: a City once fair and who at the close of the Masque shall grow fair again. THE DEMONS ATTENDANT UPON LONDON: ofwhom seven are deadly Demons but one attains redemption. PHILISTINUS: that solid rock of British character whence flow the athletics of sweetness. BOGUS: who is both ancient and modern. 10 THE DEMONS {continued) SCAMPINUS: A most commercial, most plausible, most respect- able Demon, whom nobody trusts but everyone believes in. CUPIDITAS: whom we all have in our hearts though we fain would disallow it. IGNORAMUS: who is first cousin to Philistinus, & though more evil yet in better taste. BUMBLEBEADALUS: London's own familiar. SLUMDUM : who is worth his weight in gold when he barters for conscience. JERRYBUILTUS or JERRY: whom we have cherished so long, and understood so well. THE VOICE OF THE UNCONSCIONABLE. THE GENII ATTENDANT UPON LONDON AFTER HER REDEMPTION: LABOUR. INVENTION. FREEDOM. COMMERCE. THE FIVE SENSES: for her enjoyment and wise understanding. THE SPIRIT OF THE AGE: the Speaker of the Epilogue. II THE DESIGNERS OF GROUPS, SCENES, DANCES,& OTHER PRO- PERTIES IN THE MASQUE. IHE Masque has been carried out under the general direction of 1 the following Committee of the Art Workers' Guild. The special J scenes, dances, & properties being contrived, arranged, designed, or fashioned as stated here below. Mr. WALTER CRANE, Chairman. Mr.C.R.ASHBEE, Mr. BEL- CHER, Mr. C.J. HAROLD COOPER, Mr. LOUIS DAVIS, Mr. SELWYN IMAGE, Mr. H. LONGDEN, Mr. MERVYN MAC- ARTNEY, Mr. H.J. L.J. MASSE, Mr. JOSEPH PENNELL, Mr. HOPE-PINKER, Mr. HALSEY RICARDO, Mr. C.HARRISON TOWNSEND, Mr. CHR.WH ALL, Mr. H.WILSON. IHE group of the Seven Lamps; Mr. H.Wilson & Mr, Christopher IWhall. ThePrologue,Time:Mr.C.H.Townsend. TheDanceof I theForestLeaves:Mr.LouisDavis. The Pageant of the FairCities: Mr.C.R. Ashbee, assisted by Mr. Walter Crane, Mr. Christopher Whall, Mr. E. R. Hughes, Mr.Henry HoUiday. The Demons: Mr.Christopher Whall, assisted by Mr. C. R. Ashbee. The Dance of the Senses: Mr. Walter Crane. The Hope and Fortitude Episode: Mr. Walter Crane. The Epilogue: The Spirit of the Age: Mr. Holroyd, assisted by Mr. Walter Crane. The Design for the Prolocutor: Mr. Selwyn Image. The Design and Planning of the Stages: Mr. H. Wilson. |THER assistance has been given by members of the Art Work- ' ers' Guild as follows : The Design for Clio : Mr. Henry Holiday. ' The Design of theThrone for London : Mr. W. R. Lethaby. The Design for the Tree: Mr. J.D. Batten. The Designs for Labour & Inven- tion: Mr. G.Moira. The Design for the Dragon: Mr. Walter Crane. The Forest Background: Mr. H.Wilson assisted by Mr.T. M. Rooke. The Director of Musical Arrangements: Mr. J. Belcher. The Assistant Stage Manager: Mr. Harold Cooper. The Chairman of the Publication Com- mittee : Mr. Joseph Pennell. The Sword forTrueheart : Mr. Nelson Daw- son. The Sphere and Sceptre for London, and the Clasps for the Robe of Commerce: Mr. Alex. Fisher. TheEtchingforTime,&otherdrawings: Mr. Strang. The Dress for Bogus: Mr. A. S.Haynes. The Cutting of the Wood Blocks for the book: Mr. W. H. Hooper. The Designs for the In- itial Letters: Mr. C. R. Ashbee. The Lithographs: Mr.T. R.Way. The 12 Crown and Clasps for London, & the Ship for Commerce : Mr. W. Crane and Mr. C. R. Ashbee. The Capitals for the Proscenium: Mr. Stirling Lee and Mr. Murphy. The Statue in the middleof the Proscenium: Mr. Hope-Pinker. The Couch of Fayremonde: Mr. Wilson. The Lamps: Mr. R. Rathbone. The Leaves in the Forest Scene: Mr. T. R. Spence. The Shield forTrueheart: Mr. A.J. Shirley. The Designs for the Seal for the Art Workers' Guild: Mr. C.J. Harold Cooper. The Printer of the Book: Mr. C.R. Ashbee. PROFESSIONALS.— Stage Manager: Mr.Hugh Moss. Dancing I Master: SignorEspinosa. Composer of the Music: Mr. Malcolm I Lawson. The Dance of the Winds: Madame Cavalazzi Mapleson, assisted by Signor Coppi; the music by Mr. Arnold Dolmetsch. Assist- ant Secretary: Mr. W. H. Ansell. 13 THE MASQUE. SCENE I. THE SLEEP OF FAYREMONDE. SCENE II. THE QUEST OF TRUEHEART. SCENE III. THE RALLY OF THE DEMONS. SCENE IV. THE VISION. SCENE V. THE AWAKENING. SCENE VI. THE TRIUMPH. •^^ \ v'\u''<\4 -nn^vi^MiMMifr h * * ;; 4 'i 1,4- • "'' -tr. 5*1* *' ,,,^'. ^^J^^-"I^S!«''^?a£'is4^-^.-^^ THE ACTION OF THE MASQUE. SETTING FORTH IN ORDER ITS VARIOUS SCENES AND PERSONAGES.TOGETHER WITH SUCH WORDS AS SHALL BE EITHER SPOKEN OR SUNG. HE Stage being set and arranged after the mannerof the ancient Masque-stage has, according to such use and precedent, an inner and an outer scene, space ox pegma. (Nihil venustius quam ilia pegmata. Cic. Att. 4, 8.^ Of these the backmost or inner, shews, as occasion shall re- ' quire, a Forest-glade. But, before the opening of the action proper, a curtain being drawn in front of this conceals it, and, for the purpose of the Prologue, the whole of the Stage is in full darkness. Instruments of music play an Introduction, and then, after slight pause, voices without are heard singing the following RONDEAU. JNOTHER Page ! Fair in our sight ] The leaf lies waiting, virgin-white, For Time the scribe to use the sheet. And make his half-told tale complete. Screened from us, secret, hidden quite, He holds his fateful pen to write Another Page. Tales blurred with tears will he indite? Or let the gloom be streaked with light? Or make a poem, tender-sweet. Where Life and Hope and Love shall meet? 'TisTime that knows. He pens aright Another Page! K Towards the end of this song the Stage gradually lightens towards the centre, revealing in half-light Time as Prologue with his emblems of Book, and Scythe, and Glass, who shall speak A PROLOGUE. ! AM the Regent of the Days; my power Compels in thraldom ^on,Year,and Hour , Into one mighty flux the Ages run. Past, Present, Future — these and I are one. The hours, those creatures of the sun and moon, The timid dawn-time, and the tide of noon, bi 17 Slow creeping eve, and sombre stretch of night, The changing months and seasons in their flight. The years, — like wavelets of a boundless sea That form, and break, and straightway cease to be, — And all the Ages, since the world began. To me are moments, nay, an instant's span. \S old as now, I watched the Planets' birth , And shaping of the cosmic fragment — Earth. I saw the young worlds in their morning prime While life crept slowly from primordial slime. As young as now, I still shall hold my sway When worlds have slowly crumbled to decay; And when the torches of the night expire I still shall watch the sinking of their fire ! ^UT here, to-night, for one forgetful hour ' I dofFmy kingship, and put off my power. • For a brief space I lay aside my crown, And, abdicating, cast my sceptre down. So, by my laws unshackled, you may stand Within the confines of the Time-less Land, — The Land of Faery, where all things seem, Where Man and Time have melted into dream. 1 Soft music plays as this Prologue is in speaking and after, and at its end the stage slowly darkens, & the figure of Time is obscured by the growing darkness. There is played music, by way of introduction to the Masque proper, and the Spirit of Old Masque, appearing as Prolocutor {Orato- rem voluit esse me, non Prologum . . . Ter. Heaut. Prol. II), advances to the front of the stage, and sets forth inverse a forecast of the action and intent of the First Scene as follows: I AIR Dames and Sirs, in past days may ye know How guilds of craft presented masque and show, , Seemly in ancient hall, belike as here. E'en so do we, a Guild of Arts, prepare A mystery, wherein we would disclose How Beauty's spirit — soul of life's sweet rose- In deathly sleep of pale enchantment drear Doth lie, both she and all her vestals clear. i8 While Malebodea broods, a shadow o'er her house, A palace fair hid in a forest close Of briars and thorns; and from the woodlands-drift A whirling dance of leaves the wild Winds lift. While in procession move the Seasons four, With Month by Month across time's silent floor. If such fair visions may your pleasure meet. Lend us your willing eyes and patience sweet. To read what purport deep this masque may hold Commingling past and present, new and old. E b 2 ig THE FIRST SCENE. THE SLEEP. HE innerportionof the Stage shews a tapestried cham- ber of a Castle orPalace,with an arcade through which is seen the before-mentioned Dark Forest, Fayremonde, the Spirit of All Things Beautiful, is discovered in apro- found sleep, upon a couch covered with a richpall,while a lamp flickers hard by. And round her are grouped her Attendant-maids — the Seven Lamps — each with a lamp which has died out. Their names are Sacrifice.Truth, Power, Beauty, Life, Memory, and Obedience, & they lie in slumber, partly covered with dead leaves which have drifted in from the Forest. Over against the sleepingform of Fayre- monde sits Malebodea the Witch, the Weaver of the Spell. Then after music, in which can be heard the piping of the Winds and the murmur of the storm, is sung THE SONG OF THE WIND AND THE LEAVES. |LOSED around with forest gloom, A jewel in a casket hid. Sleeps she as on storied tomb, The golden leaves for coverlid. Sleep on, sleep on, while these we strew In fear and hope, till Spring renew. 'ARK ! In listening forest glade, ' The sea-voiced winds have left their lair To weave the shifting shine and shade, O r lightly lift the Dryad's hair. Sleep on, sleep still, nor let th^m bear Pale thought of trouble to thine ear. iUT we zephyrs with the leaves " Reckless still of loss or gain Play, while Time his dance enweaves With joy and sorrow, love and pain. Sleep on, and lightly let them pass Like cloud-shadows o'er the grass. [INGED dreams we waft her nigh Of passed time and time to come: Let painted visions fill her sky Through the windows of sleep's dome. Sleep on, nor lightly dream in vain. Perchance thy dream shall live again. 20 [EAVE the dance \yith measured paces, Link our hands to weave the spell ' The magic sphere of sleep embraces, Who may break it? Who shall tell? Sleep on, sleep on, until the morn The radiant hunter winds his horn. Then occurs a dance arranged after the following manner: Young girls representing the Forest Leaves, & sixteen in number, enter in sets of four, and their colours are crimson, brown, orange, and green.The four Winds following them take each his position at a several corner of the stage. Each bears his eniblem embroidered on his breast, their habits of vari- oxi^colonr^.iForthosewhichMythologizethemchuse some kinde of colour well- suting with the fable Mont., lib. IL, cap. X.) Each wears his insignia, such as the North Wind a golden ship in full sail, the West Wind a cor- nucopiafrom which Spring flowers fall,the East Wind thorns& ascourge, and the South Wind a dove & dew-drops powdering his robe. The leaves being impelled and guided by the four Winds from their stations. The music to this dance is performed upon ancient instruments, the play- ers whereof shall stand upon the stage quaintly attired. In a pause amid the dancing enters December bearing a star-wand and lantern, and having on either side of her, children representing ice and snow. Then come forth two musicians arrayed as angel and shepherd, & playing carol music while December moves to a stately measure. Decem- ber having gone out then enters March, armed, and having on either side of him, children representinglambs, whereupon the Four Winds advance and March fights with them. He is overcome, and lies as if dead upon the ground. The two lamb-children then come forward; one takes his sword, and the other, bearing a little red-cross banner, gives it to him^ and he straightway comes to life and goes out triumphant. Then takes place a Morris dance, and the Leaves clap their hands, and, as the rows of dancers divide, a little girl runs betwixt them swathed in a brown cloak, which being unwound is butterfly-like within. In this manner is. enacted the title of the Masque, Winter and Spring and Beauty's Awakening. b3 £1 THE SECOND SCENE. THE QUEST. A curtain is painted with trees to represent the forest, and the action takes place on the outer stage.The four Seasons bring in and place in the centre of the stage atree in blossom.The Prolocutor, from his place, declares the forthcoming action in lines here following: THE PROLOCUTOR. |HILE 'neath the witches' spell doth Fayremonde liCj " Trueheart, the Seeker, on his quest doth hie; Who in the Forest dread, now far astray. Hath lost in tangled maze his tortuous way. Weary, he sleeps, while round his slumber weaves The whirling dance of Winds and Forest leaves. But in his sleep he hath a vision strange Of Hope and Fortitude, who bring a change Like spring, his drooping spirit to requite. He, lifted by the joy of Beauty's sight — Seen in his dream — takes courage good To meet the Dragon fell, in that dark wood Drawn from his hidden lair — a monstrous birth — With demons seven making devilish mirth; Until the Knight's steel smites the snakey scale. And turns their mockery to dole and wail. After music the Knight,Trueheart, clad in full armour, enters, bewildered in his quest through the forest, and with his sword broken in hewing a path through the opposing thickets. Wearied and in despair, he presently lies down under the Blossoming Tree, and sleep overtakes him, and in his falling asleep is heard, sung by voices without, the following SLEEP SONG. IREATHE soft, ye Winds, and lightly waft 1 His way-worn soul to calm repose: Come, poppied Sleep, with kindly craft Each sense in sealed oblivion close: Ye fragrant Boughs bend gently down. Soothing with perfumed charm his rest: And all ye Spirits of Peace, that own ■> These woodlands, guard your wandering guest! 22 jLEEP, gentle Knight, brave heart and true I Awhile thy imperious toil forget: 1 Or, but in roseate dreams, pursue The quest whereon thy soul is set. O radiant Vision, as dew descend On the parched earth; in beauty steep His wondering spirit, that nears her end! Sleep, gentle heart and valiant, sleep. As he sleeps, music precedes the reappearance of the four Winds and the Forest Leaves, who weave a dance around the Knight. While this is in doing, the Demons — the creatures of Malebodea, the Witch — are dis- cerned lurking in the background, and fitfully appear and reappear. Then enter Hope and Fortitude from right & left and stand by the sleep- ing Knight. Hope bends over him as if whispering in his ear words of cour- age and counsels of endurance, and breaking a spray of the Blossoming Tree places it for encouragement in his helmet. And Fortitude for her part takes from the side of the sleeping Knight his useless weapon — the broken sword — and in its stead places a new one, the Sword of Courage and Conviction Sure. Then the two pointing to the inner scene step aside vfhile the curtain parts, and to the Knight, as in a vision, is disclosed the sleeping Fayremonde with her attendant Lamps. While this is in show- ing there is sung the following SONG OF GOOD HOPE. I(E not afraid! I Seeker, brave and hopeful be. Tho' great thy task, and hard for thee. Be not dismayed! Fairness lies hid beneath cold custom's ban That hides the brotherhood of man with man. The tangled brakes with Doleful Creatures swarm While sultry o'er them broods the imminent storm. And the unhallowed groves with wailing clamour loud Shudder with blanching leaves against the thunder-cloud. JUT never did the world long rest " Content to walk in ways unblest: 'Or nation's thunder rule the waves Only to guard the Dens of Knaves. Hearts of goodwill e'en here abide Whose hopes and prayers are on thy side. b4 23 And healing Nature ever fresh and new That brings each year the spring in seemly show. With sword in hand and blossom'd crest And heart renewed renew thy quest; Drive the dull things of night away ■ . yy .1 And lead along the young-eyed day ! ]r\ I A great noise is then heard from the depths of the forest. Trueheart, the Knight, awaking, grasps his lately given sword & his shield, and placing on his head the helm on which is displayed the branch of the Tree of En- couragement, prepares to meet this his new foe. Then, with great noise and tumult, enters, as from the wood, a huge & horrid Dragon, Aschemon {yidimus immani specie tortuque Draconem .... Cic. de Div. II., 30), and advances to attack the Knight. A great fight ensues. The eight Demons, in alliance with the Dragon, endeavour to thwart and to hinder True- heart. But he, though greatly spent, at last slays the Dragon, whom being dead, the Demons, lamenting^ bear from the stage. Then triumphant music, and Trueheart blows his bugle in token of his victory, and there is sung the following SONG OF PRAISE. HE bugle sounds, the monster's slain. Our lamps shall kindle yet again. i Bring up, oh bring, the gifts of price To heaven, to heaven the Sacrifice! Let Truth reveal, and Power hold. Let Beauty^ as of yore, unfold To Life that ever throbs to be. The quickening joys oi Memory. Let each reanimated sense Be chastened to Obedience — Each lamp uplifted let us raise rcg^ Our pxan of triumphal praise ! N^^ 24 THE THIRD SCENK THE RALLY OF THE DEMONS. The inner scene being again hidden by the curtain, the Prolocutor ap- pears and recites the following lines: THE PROLOCUTOR. jHE evil brood, though Aschemon is slain. By Malebodea rallied once again, I Conspire anew against the powers of good. With mocking dance and song, in hardihood Rejoicing in their shame, in all despite Of human spirits striving for the light: See then the Demons foul, still London's bane. Intent to blight her realm with blot and stain. i iwi Though yet their hour is brief — the bugle's sound If^K Strikes palsy to their hearts on Fayremonde's ground. |Va^ The Demons are then discovered on the stage, they are cowed and dis- pondent.To them enters Malebodea, the Witch; as she appears they sev- erally fly hither and thither, but Malebodea beckons themtoreturn.The music tells first of their reluctance, then of their resolution, and when at last they are of one mind they unite in a grotesque and fantastic dance around the Witch, As the dance grows wilder their courage rallies, and their movements grow more expressive ofwhat they still shall dare to do. At the close of all there is a great shout taken up without; this is the climax, as it dies away there is heard a voice — minatory,accusatory,plain- tive, mocking, the voice of conscience, the voice of human destinies, the voice of the unconscionable, and thus shall the voice speak, denouncing each Demon as in his turn he is summoned to stand forth, & at the close of each denunciation the chorus takes up the refrain. THE VOICE: Stand forth Philistinus! ' OE for the world that has loved to define us! Shall it repine us, must it resign us. Must every Bayswater dinner be minus I The soapy punctilious old sneak Philistinus? Old sneak did I say? Kind friends — draw it easy! Philistinus is buoyant, and beefy and breezy. By the Hudder^eld weavers, the Manchester spinners, By all the brave bagmen that bung for their dinners. The Glasgow distillers, the Macclesfield fullers. By — (well never mind I) with his coat of bright colours ! Philistinus his missions, his gunboats, his traders. Bears the banner of exploit for modern crusaders — 25 By everything holy, commercial and cunning, Philistinus, the British, comes first in the running. HUFFLE,and soft soap, and slipshod, and sham; Culture and cram; cant in the jam, Press-pufFand persiflage, humbug and flam, , All to Dance to the Dance of the Devil's own Dam! THE VOICE: Stand forth Bogus. ' OE to the World, if no longer it pays Its tribute to Bogus the Ancient of Days — What ! Dare the World venture to check at the phrase? I Or deny ME, its Master, that guides its displays. And its destiny sways. If not ' ab initio ' at least in these days — Pray what will become of its crotchets and craze. Its conventional ways, its starch and its stays, Its upholstered plays, its R.I.B.A.'s, Or even its Laureates' Bogus bays Schoolboards that birch with a Bogus rod. Chemical peas in a Bogus pod. Bogus politics, (wasn't it odd How lamely our liberal leaders were shod, When the last Bogus plank of their platform was trod!) Bogus Art, and a Bogus God! Down with you Bogus under the sod! Hocus, pocus, bottomless Bogus! Shall a Puritan Jabez no longer berogue us? — Pounding along on a guinea pig's back. His cant and his companies all gone crack; Bogus shall howl with the rest of the pack! HUFFLE, and soft soap, and slipshod, and sham; Culture and cram; cant in the jam, Press-pufFand persiflage, humbug and flam. All to Dance to the Dance of the Devil's own Dam! THE VOICE: Stand forth Scampius! k YE and Scampinus, the Sharp and the Flat, 'With his solemn sabbatical black cravat, I His immaculate togs, and his silk top hat, I His fortune in pills, and the affable chat, Of his puffin the Press, for he pays for that, As he pays for his complaisant aristocrat, — 26 His margarine pat, and the drugs in his vat. And his spicy bread sausages, flavoured with cat. East and West would you give of the best. And reap of the worst, Scampinus you pest ? — Plugson of Undershot standing confessed! With the soul of a ghoul and the teeth of a rat, Scampinus accursed, come away with the rest. HUFFLE, and soft soap, and slipshod, and sham; Culture and cram; cant in the jam. Press-puff and persiflage, humbug and flam All to Dance to the Dance of the Devil's own Dam ! THEJ^OICE: Stand forth Cupiditas! V, YE, and Cupiditas rank as a weed. That sprouts in the dung from a sodden seed. Not fair as of old was the Lady Mead But sordid with utilitarian greed. Your devilish dividend-hunting avidity. Claws all alike with impartial placidity; For the Shark with his Company-cadging cupidity Can match Ignoramus' solid stupidity. You are spawned on the Vestries and Boards where you breed For an ever devouring Democracy's need. You'd sell Westminster Abbey and God, to feed! The poor, as of old, on Iscariot's creed ! Shuffle Cupiditas off with speed To join in the dance of the Devil's stampede. HUFFLE, and soft soap, and slipshod and sham; Culture and cram; cant in the jam, Press-puff and persiflage, humbug and flam, I All to Dance to the Dance of the Devil's own Dam I THE VOICE: Stand forth Ignoramus! |OES anyone shame us, or saucily name us? Who by the Gods of Convention dare blame us? Sure as M.P. and Councillor well he became us Our dear, platitudinous, far-hearing, famous. Firm, British-matronly Ignoramus? Ignoramus, the pity, the pity ! Shall you maunder no more your infallible ditty. As you loaf in the slum, or lounge in the City, Or lead the Academy hanging Committee, Or inflate John Bull with your self-reliance, 27 Or hug your departments of Art and Science? Shall your pride and your prurience no more inflame us? Down with you, Down with you. Ignoramus! HUFFLE,and soft soap, and slipshod and sham; Culture and cram; cant in the jam, Press-pufF and persiflage, humbug and flam. All to Dance to the Dance of the Devil's own Dam! THE VOICE: Stand forth Bumblebeadalus! ^OOM for this picturesque waxwork of Daedalus, Room for the London of old Bumblebeadalus! The London of vestries, of jobs and of lies. Of puffs and of posters, of signs in the skies, Of crawling busses and crowded trains. Of river monopolies, unflushed drains. Would you be- wheedle us old Bumblebeadalus? Our London, the joyless, the reckless of brains, The sleepy, the smoky, the sooty remains! And what if a tub-thumping socialist boggles At your mace and your furs and your gloves and your goggles, Old Bumble grows bigger, his heart merely hardens As he crawls from the Mansion House into Spring Gardens, For now he's but added, the more to prevail. To his blustering tongue, a sting to his tail; With his twists, and his shifts, and his betterment schemes. His technical education dreams. His cooked accounts, and his legal quirks, His legacies from the Board of Works, The reforms he gases about but shirks. No Bumblebeadalus, you'll not be-wheedle us! Though you give Mrs. Grundy a wreath of myrtle. Sing premature threnodies over the Turtle Not all the 'i's' Mac*****l dots. Not all the pennies in all the slots. Not all J**n B***s' random shots. Not W***'s municipal melting pots. Not B*****d S***'s most cynical plots Shall make old Bumble change his spots! But a City whose name shall descend into story As we picture her greatness or sing of her glory. Who shall stand as a joy to the proudest of nations, Such a city comes not in your calculations, And the treasures and charms that might make her agen 28 What she once was to Eveleigh or Christopher Wren, Old Bumble regards but as empty frivolities, Old Bumble has universal qualities; Off, off, you old reprobate — you'll not pronounce ill On the change from King Log to King County Council! ^■HUFFLE,and soft soap, and slipshod and sham; Culture and cram; cant in the jam, Press-pufFand persiflage, humbug and flam, All to Dance to the Dance of the Devil's own Dam ! !^iP THE VOICE: Stand forth Slumdum! ^LUMDUM come, you must come with the rest of them, Whitechapel horrors the goriest and best of them. Blistering profanity fleshing a zest of them, Cent-per-cent. rentals and lawyers in quest of them. Shelters and pawnshops and preachers — a pest of them — Street organ, gin palace, all gone mum! Stop thumping your damned philanthropical drum. And into the limbo come, Slumdum come ! HUFFLE,and soft soap, and slipshod and sham; Culture and cram; cant in the jam, Press-pufFand persiflage, humbug and flam, > All to Dance to the Dance of the Devil's own Dam ! THE VOICE: Stand forth Jerry ! L ND shall the ubiquitous Jerry come too? Come with his girders and " bays for a view?" Jerry the fanciful, Jerry the true, Jerry the merry, the artful, the new, Jerry the semi-detached, two by two, Little Pedlington Mayors, and District Surveyors, Microbe tanks, drain-pipes, and Typhoid purveyors. Cadging along with the rest of the crew, Off into Jericho Jerry goes too ! HUFFLE,and soft soap, and slipshod and sham; ' Culture and cram; cant in the jam, Press-puff and persiflage, humbug and flam, , All to Dance to the Dance of the Devil's own Dam ! The dance and the music have grown wilder and madder; at the close of all there is heard again on a sudden the clarion of Trueheart, whereupon all disperse and the scene closes. 29 THE FOURTH SCENE. THE VISION OF FAYREMONDE. The Prolocutor from his place sets forth the forthcoming action in the lines here following: THE PROLOCUTOR. [HILES doth the Knight the darksome forest range Upon the Sleep of Fayremond draws a change, When turns the storied sphere of dreams controlled By Clio, stately dame who hath enscrolled The world's fair lore. And she doth summon there The images of cities nine most fair, As they in primal beauty decked the earth, When shone the slumbering lamps, and joy had birth In all man's labour, as with craft and art. Each thing of use had life to cheer the heart. And pictured walls emblazoned mighty deeds With all the people's lore, for daily needs. Cinctured in mutual service, walled and towered Behold their semblance — each a bride rich dowered. Fayremonde, cast by spell and enchantment into a deep sleep, is supposed therein to see, as in a vision, a display, in manner of procession, of those Fair Cities, which in olden days belonged to her realm, and owned her sway and governance. The scene being the inner, and arranged after the manner of the First Scene, these enter, each accompanied by a worthy & noble citizen, ruler or artist, famous & notable in the palmy days of such city. To set these forth in their order they are: Thebes, attended by Ra- messes 11. ; Athens, by Pheidias and two youths from the Lysis of Plato; Rome, by Augustus & three youths from Mantegnas Triumph of Caesar; Byzantium, by Constantine and St. Helena the Cross-bearer; Florence, by Dante &Cimabue, with two Pages as train-bearers; Venice, by Titian, with a Doge, two Brides of the Marriage of the Adriatic & Halberdiers; Nuremburgjby Durer,twoTrain-bearers & a group of Craftsmen from the workshops of Adam Kraft, Hans Sachs, Peter Fischer,& Viansen ; Paris, by Saint Louis & Joan of Arc, a Herald and three female figures symbolising the arts & graces of life ; Oxford, by King Alfred & William of Wykeham, two Acolytes & a group of Scholars. As these severally enter there is re- cited such one of the following stanzas as appertain to each city: THEBES. ^W^OUNG was the world that saw me, Thebes, arise, ^\ Serene in wisdom, and in state serene: Sphinx-like I sat, and watched with fateful eyes Myriad on myriad slaves salute ine Queen. Deep to earth's core I tracked her secret ways, And charmed the majestic heavens to crown my praise. ATHENS. |ISDOM was mine, and Beauty: mine the Joy ' Sprung from their fathomless depths withdrawn, serene: Nor while the world endures shall age destroy The seal and dominion of my gracious mien. Lo ! violet-crowned, a Queen 'neath cloudless skies. Full on Perfection gazed my faultless eyes. ROME. WAS the Mistress of the World; on me I The gods had laid the imperial soul for dower. I came, I saw, I conquered earth and sea. And from my touch sprang desert lands to flower. Chaos before me fled, and girt with awe Deep in men's hearts I set the throne of Law. BYZANTIUM. WAS the daughter of imperial Rome, Crowned by her Empress of the mystic East: I The Most Holy Wisdom chose me for her home. Sealed me Truth's regent, and high Beauty's priest. Lo ! when Fate struck with hideous flame and sword. Far o'er the new world's life my grace outpoured. FLORENCE. FLORENCE am I, the peerless Flower of all. The blood-red Lily borne on Arno's wave! 1 1 am the Bride of Art, the imperial Mistress of Beauty, for whom Dante gave His heart's blood; and grave Buonarotti's spell Enchained the world within my citadel. VENICE. JORN of the Sea was I, yea, born of the Sea, ' When the young Dawn first kissed and turned to rose Her orient pearl. Majestic, strenuous, free, Calm in my soul, I feared no mortal foes. Back to their East the Crescent hordes I hurled : And Europe breathed once more, a rescued world. 31 NUREMBURG. |TRONG as the sun, fair as the rose in June, For Duty and Beauty all my soul afire; I Life's chords discordant trained to perfect tune, Deft hands, stout heart, knit fast to one desire: Sound to the core, self-centred, buoyant, free, I bore my sons to Toil and Liberty. PARIS. )0 ! 'neath these northern skies enthroned, on me Art set her daintiest touch, and charmed my hand To deftest cunning and felicity, Since her last radiance sank o'er Grecian land; Gay as an April morn Love's kisses thrill I hold men's hearts in thraldom at my will. OXFORD. |UDE was this land, when lo! my spirit rose I At Alfred's summoning by Isis' shore; And the Eternal Wisdom bade unclose In Oxford's halls her grave, mysterious lore. Ah! yet, poor World, thy weary soul desires The secret spells that haunt my dreaming spires ! Moving to a stately march, they all, in turn, bow to Fayremonde,& pass away, leaving her still wrapt in her magic slumber, & as they are leaving, the Prolocutor, from his place, speaks the following words: THE PROLOCUTOR. |NE yet remains, in mean attire, distrest, ' Though holding riches more than all the rest — E'en London, blackened with the smoke of toil And luxury, and tangled in the moil Of penury and care, mid wealth untold. With rich historic garment torn and old — Creature of shreds and patches, yet a queen, By Demons fell tormented and made mean. For her deliverance may we hope and pray That she, a city fair, may rise one day. ^ Towards the close of these verses enters hurriedly, London, pursued by the eight Demons who torment her. After which they leave the stage, & the curtain falls over the inner scene. 32 THE FIFTH SCENE. THE AWAKENING. The Prolocutor from his place sets forth the forthcoming action in the lines here following: THE PROLOCUTOR. iO ! now the Knight's clear bugle sounds the knell ' Of Malebodea and her baneful spell. As through the dark enchantment he doth break With light and life and love for the fair sake Of Fay remonde, with the magic of a kiss Won to the world that her did sorely miss: Rekindle each fair vestal's sacred flame Whose light the powers of darkness hence shall shame. And bring joy back upon the sun's warm beams To re-create the garden of youth's dreams. Wherein the Senses Five their dance renew, As shall appear forthwith in order due. The inner scene is set out as in the first scene. The sound of the Knight's bugle horn is heard from the depths of the forest. Malebodea starts and rising to her feet looks around in affright as if for help. To her then enter the Demons; they gather round their protectress, capering grotesquely. Trueheart, the Knight, enters, his sword being drawn, and with the air of a victor, and confronts theDemons ScMalebodea, and breaking through them while they cower back on either side of the stage, he enters through the arcade, and approaching the couch of Fayremonde, bends over her in wonderment&in happy satisfaction at the conclusion of his quest. There is then sung, by voices without, the SONG OF THE AWAKENING. JAKE, lovely maid, thy foes no more withhold me! Loosed is the spell that long enchained thine eyes. Now may the healing from thy glance gifold me. Wake, sweet one, wake, and make me wise ! lIM shews the golden earth while thou art sleeping. Faint in our hearts thy Beauty's image lies, Weary the watch the waiting lamps are keeping. Wake, sweet one, wake, our hope else dies. |0 more Aschemon's coil may bar or bound thee. No more Mal'bodea's might compel thy sighs, \ Fayremonde thy Trueheart's arms at last are round thee. Wake, sweet one, wake, I kiss thine eyes ! u CI 33 And Trueheart the Knight taking from his helm the spray of blossom, bends over the sleeping Fayremonde & wakes her with a kiss. The spell being broken she rises in happy wonder from her long trance. The Seven Lamps the while awake and re-kindle their extinguished flames. Then enter, as a sub masque, to symbolize the awakening of beauty and the joy of life renewed, five couples richly attired, the colours of their raiment displaying the colours of the rainbow in order. Each pair repre- sent respectively the Senses of Hearing, Seeing, Tasting, Smelling, and Touching, and bear proper emblems. Each sense is illustrated in turn in the movements of the dance which follows and closes the scene. 34 THE SIXTH SCENE. THE TRIUMPH. The Prolocutor from his place speaks as follows: PROLOCUTOR. low in achievement new the spirits rare Of Labour and Invention draw and bear I The seat of amity and power. Here throned Shall Fayremonde sit with Trueheart, while atoned Shall London's penance be, the Demons stayed. And she recovered — most fair arrayed, — With Freedom and rich Commerce take her place With her fair sisters of the past, and grace The Court of Truth and Beauty, evermore As one — through changing forms of Art the core Of Life; beneath whose sway fresh from the dews Of Strife and Hope the weary world renews Her youth. Then shall the Spirit of the Age Recite the Epilogue and close the page. The characters are discovered in place as at the end of the last scene. A Tri- umphant March is played, while a fair seat is then brought in by Labour and Invention and placed under the arch of the inner scene. Then Fayre- monde led byTrueheart, is enthroned on it, he standing at her right hand. In attendance upon Fayremonde are the Seven Lamps & the Five Senses. All these having taken their places, then shall enter London torn and dis- hevelled, still pursued by the Demons. She kneeling at the feet of Fayre- monde sues for help. Trueheart at her appeal draws his sword and con- fronts the Demons, who, hesitating in their attack, are preparing to slink ofF,but the Lamps close in on them crescent- wise, and Simplicity & Good- will drive forward Cupiditas, Scampinus, Ignoramus, Bogus, and Jerry- builtus with scourges up to the glass of Truth, before which they cower and shrink. Of the three other Demons meanwhile, Philistinus stands stolidly looking on; Bumblebeadalus and Slumdum pulling their official and hypocritical robes respectively about them, stand, taking sides with the powers ot good, and sneakingly applauding the confusion and con- demnation of the others. These latter are driven off the stage in disgrace as aliens, and the other three who are moving off also, are arrested and brought up for judgment. The robes of Bumblebeadalus and Slumdum are stripped off by the Cherubs who then scourge the naked and wing- less creatures round and off the stage. Finally with a burst of impotent rage Malebodea the Witch likewise rushes off. C2 35 Then enter the Fair Cities with their attenaants, ana aomg nomagc lu Fayremonde and Trueheart, they also take their places and foirma court, London, who, during the passage with the Demons, had withdrawn her- self under the protection of Fayremonde's court, now re-enters, her aspect changed, and being clad in a fair, rich emblazoned mantle, she is led by Freedom and Commerce and enthroned opposite to Fayremonde (whose seat has meanwhile been moved to the side of the stage). She then re- ceives from Labour and Invention a crystal sphere and a sceptre, and so takes her place as a Fair City among the Fair Cities. Then may be sung the following: SONG OF TRIUMPH. ILL is done! ly/fnrn^ All is won ! ir ft3^ Doubt and fear no more confound us: Rising hopes renewed surround us: Rising day Drives night away, Morning throws its beams around us. Making summer holiday. Heaven sends Nature down to us again. Renewing our dull Earth like summer rain. f S there hope? Is there hope? What see the hills that gird our city round. And take large outlook of our English ground? Far to the verge where rolls our sea That clasps us in its arms and keeps us free; But on the hither side. Narrowing the prospect wide. Look into one dim pit of smoke and flame Where boils and fumes our strength and pride and shame. Where hearts of gold are melted into dross. And hearts of earth are beaten into gold. And, streaming like a tide, the gain and loss Beat to and fro With ceaseless ebb and flow. Writing the tragedy of young and old. Where bright-eyed lives are caught and stricken blind. And stifled in the nets of greed. And bought and sold; 36 Or, if perchance their feet are freed, Rush on in abject fear of being left behind. [AKE again! lO wake again! Heart of our English land that lies asleep. And show us, on the other side the steep, All round, the fair Champain. For Rome might die yet Italy remain. And shall we say, who hear our cities weep. Our sands are also run? Our day nigh done. That cold decay Draws its twilight veil of gray Before our sun? O rather say, That year by year, within the purple main. Our land renews its strength again As spreads the spring once more With coy delayings along the northern shore; And, day by day. Morning rises grave or gay And sometimes brings as with the dawn. The Baltic cold with daggers drawn That sweeps the landscape gray, And sometimes a fairer scene Where falls the sun on meadows green While the south-west leads out the lambs to play. JLL these things remembering, I We, the children of the changing clime, J That trains our spirits to be great. And take the unreckoned chances of our fate. And meet the varying time. Together sing Our tale of winter and of spring. And play our mime of Beauty's wakening. {AKENthen ] Spirit of Beauty ! once again. Lead with new hope our aimless feet along! 'Teach us our trade ! " the children cry; 37 '^ " Show us our way and force us to be strong! " And though the sunshine never tarries long "To slack our wills, " Yet point a clearer path on fresher hills, " Beneath a kinder sky ! " Then shall the Spirit of the Age appear as a cloaked figure with winged cap and wings upon his feet, having a scroll and pen in one hand & hold- ing aloft a search-light in the other. He advances to the centre of the stage and at its very front shall then recite the following verses as EPILOGUE. I ME claim thine own ! Our little hour is o'er; Thy things that are, replace our things that seem. And re-assert thy kingly power once more And take as thine our Vision and our Dream. HOUGH thine the withered petals of the rose. Thine the dead glories of its scent, its hue. Yet ours the buds that burgeon and disclose Fresh hopes that still shall live, and still renew. UR hopes are left; for Hope and Art are one: Young Hope,youngArt,each holding hand of each, Our pictured fancy fled. Time's world begun, Hope is the lesson that our dream shall teach. m Which said he leads all the company forth in procession. And they shall march round the stage, triumphant music playing the while, & descend into the hall, passing down an aisle through the audience to the further end of the hall and returning to the stage, where EXEUNT OMNES. 38 THE AUTHORS, AIDERS AND ABETTORS OF THE ABOVE LITERATURE WHO HAVE CON- SPIRED TOGETHER TO ASSAULT THE PUBLIC CONFIDENCE WITH THEIR PATCHWORK; BLUSHING TO APPEND THEIR NAMES, EACH AT THE FOOT OF HIS PIECE; YET MANFUL TO UNDERTAKE THE RESPONSIBILITY FOR THEIR WORK (LEST IT SHOULD, HAPLY, BE WRONGLY ASCRIBED &THUS SHOULD WEIGH ON THE WRONG SHOULDER) HAVE SUBSCRIB- ED THEMSELVES WITH CERTAIN MARKS, WHICH THEY HERE CLAIM AS THEIR OWN, AND IN THUS SAYING FAREWELL, WOULD, IN THE MANNER OF THE OLD SCRIBES, BEG EACH HIS SHARE IN THE CHARITABLE CON- SIDERATION OF THE READER. C. R. ASHBEE. WALTER CRANE. SELWYN IMAGE. C. HARRISON TOWNSEND. C. W. WHALL. WILSON. THE FOREGOING LETTERPRESS SET UP FOR THE ART WORKERS' GUILD ATTHE PRESS OF THE GUILD OF HANDICRAFT, LIMITED, ES- SEX HOUSE, BOW, UNDER THE SUPERVISION OF C.R.ASHBEE,JUNE, EIGHTEEN HUNDRED AND NINETY-NINE. THE CHARACTERS OF THE MASQUE. TIME Mr. C. Harrison Townsenc THE PROLOCUTOR Mr. Selwyn Image. THE WINDS N. Wind W. Wind E. Wind S. Wind Mrs. Led ward. Miss E. Cooke. Miss L. Chaplin. Miss Parkhouse. MARCH Master Harold Beaumont. DECEMBER Miss Enid Ledward. MUSICIANS IN DANCE OF WINDS. TRUEHEART HOPE FORTITUDE FAYREMONDE MALEBODEA ASCHEMON, the Dragon Mr. Paul WoodrofFe. Miss Brend. Miss Standage. Miss Alexander. Miss Brandon. Mr. Lancelot Crane. THE SEVEN LAMPS. Memory Beauty Truth Power Sacrifice Obedience Life Miss Chaplin. Mrs. Clarke. Miss Walker. Miss Woodcock. Miss Grace Knewstub. Miss Boone. Mrs. Grant. CLIO : The Muse of History Miss Helena Head. THE FAIR CITIES. Thebes Athens Rome Byzantium di Mrs. Wheeler. Miss Wackermann, Mrs. Bishop. Miss D. Wolner. THE FAIR CITIES (continued) : Florence Miss Ashbee. Venice Mrs. C. R. Ashbee. Nuremburg Miss Johnstone. Paris Mrs. Oakley Williams. Oxford Miss Harwood. WORTHIES IN ATTENDANCE ON THE CITIES. Thebes: Rameses Athens: Pheidias Grecian Youths Rome: Augustus Roman Youths Byzantium: Constantine St. Helena Florence: Dante Cimabue Trainbearers Venice : The Doge Titian Two Brides of the Adriatic Three Halberdiers Nuremburg : Albert Durer Trainbearers Craftsmen Dr. Wheeler. Mr. F. W. Pomeroy. Mr. C. Downer. Mr. A. S. Tuckey. Mr. F. Madox HuefFer. Mr. J. Bailey. Mr. A. Pilkington. Mr. Lewis Hughes. Mr. Gerald Moira. Miss May Morris (Mrs. Sparling). Mr. Douglas Cockerell. Mr. Arthur Cameron. Master Tom Ireson. Master Gilbert Ledward. Mr. M. White. Mr. Hugh Stannus. Miss Trust. Mrs. Douglas Cockerell. Mr. G. F. Loosely. Mr. C. H. B. Quennell. Mr. J. Pyment. Mr. Walter Crane. Master OlafCaroe. Master Whall. Mr. Cyril Kelsey, Goldsmith. Mr. H. Ponting, Brazier. Mr. C. H. Holden, Brazier. Mr. Austin Gomme, Mason. Mr. Sidney Cotton, Blacksmith. Mr. A. G. Rose, Cobbler. WORTHIES IN ATTENDANCE ON THE CITIES (continued) Paris : St. Louis Mr. E. R. Hughes. Joan of Arc Miss Susan Cox. Herald Miss Caroe. Three Arts and Graces Miss Metchim. Miss Netter. Miss Stone. Oxford : King Alfred Mr. C. J. Harold Cooper. William of Wykeham Mr. C. W. Whall. Acolytes, Scholars, &c. Master Whall. Master H. Edwards. Master Fred Brooks. Master Fred Rhead. Mr. H. R. Thomas. Mr. J. W. Barnes. London The Baroness de Bertouche, DEMONS. Philistinus Mr. H. Longden. Bogus Mr. A. S. Haynes. Scampinus Mr. H. M. Fletcher. Cupiditas Mr. C. C. Brewer. Ignoramus Mr. T. R. Spence. Bumblebeadalus Mr. 0. N. Ayrton. Slumdum Mr, A. H. Macmurdo. Jerrybuiltus Mr. C. Spooner. THE FIVE SENSES. Sight Miss G. Parnell. Mr. G. F. Metcalfe. Hearing Mrs. Caroe. Mr. W. D. Caroe. Smell Miss G. Reynolds. Mr. Lionel Crane. Taste Miss Fawsett. Mr. N. EvilL Touch Miss Oswald. Mr. F. Inigo Thomas. THE VOICE OF THE UNCONSCIONABLE. LABOUR Mr. P. Fielding. INVENTION Miss Maud Ritchie. FREEDOM Miss B. Crane. COMMERCE da Miss Young. 43 THE SPIRIT OF THE AGE Mr. Stacy J, Aumonier. FOREST LEAVES Miss Una Cockerell. Miss L. Aman. Miss Phyllis Beaden. Miss Maude Brooks. Miss Queenie Cross. Miss Janet Hird. Miss Phyllis Logan. Miss Stella Margetson. Miss Beryl Mount. Miss Van Duryer. Miss E. Van Duryer. Miss Stella West. Miss Evelyn West. Miss Veronica Whall. Miss Hilda Ledward. 44 THE GUILDHALL. 1. EXTERIOR. AUTOLITHOGRAPH BY T. R. WAY. 2. EXTERIOR. BY JOSEPH PENNELL. 3. INTERIOR LOOKING EAST. BY JOSEPH PENNELL. 4. INTERIOR LOOKING WEST. BY JOSEPH PENNELL. 5. ENTRANCE. BY C. J. WATSON. "THE GUILDHALL" AN AUTOLITHOGRAPH BY T. R. WAY m ffl *^ y -« ^"4;^ ■,i*,'ii.|U»"i«ii»i»i.-r--=::^:^-jp;m r ''JIJ*^ -1 PPS ^'^ .'; THE STAGB AND ITS ACCESSORIES. 6. THE STAGE. AUTOLITHOgIiAPII BY HENRY WILSON. 7. PLAN OF THE STAGE. BY HENRY WILSON. 8. THRONE oriVORY. BY W. R. LETHABY. 9. CAPITAL OF ONE OF THE COLUMNS. BY H&|tY WILSON. 10. CAPITAL OF ONE OF THE COLUMNS. BY ^i|*lRY WILgON. 11. SWOftD FOR TRUEH&i^TE. BY NELSONJ DAWSON. 12. THE SCEPTRE FOR "LONDON." BY ALgX. FJlHEB:. 13. CLASP AND KEYS FOR " LONDON." BY C. R. ASHBEE. 14. SHIELD FOR TRUEHEAR^iPi. BY A. J. SiHIRLEY. THE STAGE AN AUTOLITHOGRAPH BY HENRY WILSON m m s'O^^ **%IMX6* m CAPITAL TO ONE OF STAGE COLUMNS BY HENRY WILSON Q ;»iOAT8 io :s^io 1 ia i-4Aa c/rM'\XXOD. '»:^',i;?«*i E o COSTUMES. IS- i6. 1 8. 19. 20. 21. 22. 23- 24. 25- 26. 27. 28. 29. 3°- 31- 32- 33- 34- 35. 36. 37- 38. 39- THE PROLOCUTOR. BY SELWYN IMAGE. TRUEHEARTE THE KNIGHT. BY WALTER CRANE. ASCHEMON THE DRAGON. BY WALTER CRANE. FAYREMONDE. BY HENRY WILSON. THE FAIR CITY OF ATHENS. BY WALTER CRANE. THE FAIR CITY OF THEBES. BY HENRY HOLLIDAY. THE FAIR CITY OF PARIS. BY E. R. HUGHES. THE LAMP OF SACRIFICE. BY HENRY WILSON. THE LAMP OF OBEDIENCE. BY HENRY WILSON. DANTE. BY H. M. PAGET. RAMESES II. BY HENRY HOLLIDAY. KLEIO. BY HENRY HOLLIDAY. TITIAN. BY HUGH STANNUS. ALBERT DURER. BY WALTER CRANE. DANTE ATTENDANT ON FLORENCE. BY TITIAN ATTENDANT ON VENICE. BY C. C. R. R. ASHBEE. ASHBEE. PHEIDiEUS ATTENDANT ON ATHENS. BY C. R. ASHBEE. ST. LOUIS ATTENDANT ON PARIS. BY E. R. HUGHES. PAGE ATTENDANT ON PARIS. BY E. R. HUGHES. LONDON. BY WALTER CRANE. DANCE OF THE FIVE SENSES. BY WALTER CRANE. LABOUR. BY GERALD MOIRA. INVENTION. BY GERALD MOIRA. THE MONTHS. BY LOUIS DAVIS. FREEDOM AND COMMERCE. BY WALTER CRANE. nrRUEHEARTE •THE KNIOHT m m m £R.H. " THE LAMP OF OBEDIENCE " BY HENRY WILSON ALBERT DURER- " VENICE AND TITIAN " BY C. R. ASHBEE *^ ■%' El EWJ4,^),^,_^ .G^Et-AlAW*!-^. ^ , OcrOBERj^^ Ko\)!7\BERs._-^ DEMONS. 40. THE LORD OF THE DEMONS 41. SCAMPINUS. BY C. WHALL. 42. BUMBLEBEADALUS. BY C. WHALL. 43. CUPIDITAS. BY C. WHALL. 44. SLUMDRUM. BY C. WHALL. 45. SCAMPINUS. BY T. R. SPENCE. 46. DEMON. BY A. S. HAYNES. 47. DEMON. BY J. D. BATTEN. 48. BOGUS. BY C. R. ASHBEE. 49. THE RED DEMON. BY W. STRANG BY T. R. SPENCE. \ ^^^ ALL ^AT EVH-f^ WETMT n^ ith THE RED DEMON. SUNDRY DRAWINGS. GENIUS OF THE MASQUE. BY C. HOLROYD. SPIRIT OF THE MASQUE. BY W. STRANG. A DEMON IN MUFTI. BY L. RAVEN HILL. CLIFFORD'S INN, THE HOME OF THE ART WORKERS' GUILD. BY T. R. WAY. ENTRANCE TO CLIFFORD'S INN. BY JOSEPH PENNELL. HALL, CLIFFORD'S INN. BY C. O. MURRAY. REHEARSAL OF THE MASQUE AT STIRLING LEE'S STUDIO- BY F. W. LAWSON. SKETCH FROM NELSON'S MONUMENT IN THE GUILD- HALL. BY BERESFORD PITE. AND 59. OPENING BARS OF MUSIC. BY MALCOLM LAWSON. DRAWN BY PAUL WOODROFFE. ~^^^A ^"'^fsj^.rf^.?! > ^' At if ^^ ', "^rs^i^ir^-^^s^ r, ti y^^ \ . ^ . ■■•-, V- i-n ■,- -^ . ^ i:^ VL. s RONDEAUS 7 M If andante ^ ther Page TRUEHEART u, • andantino 5 HOPE G^FORTITUDE ■ ■ flowing ^ I r^ pp. , f , '«i77iJ%"jiHrriJrj i E i P g ,1 ■ J -3 J x'^ir '-^ P DRAGON r Baboon Ic^ i.'h j-j-l jt^ ^ ^M THE LAMPS g ' conmoto ^ I p P ^ «^ DEMONS y ferocious fequick j^ "^ 1 1 Q terocious co^quicK . K l k K k k LONDON * Woe tothe worldthat has loved io de-fineus SONG OF TRIUMPH ^ allegro fe ^ ^ ^ THE AWAKENING KISS |i-fi''^ i ;' I I j^ l|| i N-* ^ I M I Qj Wake lovely maid J>ermanent Photogfraphs "^ OP THE WORKS OF ^ Sir EDWARD BURNE-JONES, Brt Q. F. WATTS, R.A. DANTE GABRIEL ROSSETTI. HARRY BATES, A.R.A., Homer and others. HAGUE GALLERY, A Selection from. By F, HoLLYER, Jun. ALBERT MOORE and other Artists. ITHE studios ... ARE OPEN TO VISITORS DAILY from 10 a.m. to 6 p.m., and on Mondays from lo a.m. to lo p.m. )ORTRAITS FROM LIFE J are taken on Mondays only. An Afipointment is Advisable. CAN BE OBTAINED OP Fredk. Hollyer, 9 Pembroke^Squate, Kensington. Illustrated Catalogue, Post Free, 12 Stamps. Publisher's Announcements y^f<,i'\ Extra Winter Numbers of **THE STUDIO" 1894. 1896. 1897. 1898. 1894. CHRISTMAS CARDS AND THEIR CHIEF DESIGNERS 1896. INCLUDES AN ARTICLE BY ROBERT LOUIS STEVENSON 1897. CHILDREN'S BOOKS AND THEIR ILLUSTRATORS 1898. MODERN BOOK-PLATES AND THEIR DESIGNERS The 1894, 1896, and 1897 Numbers may be had, post free, for is. 4d. In 1895'there was no Winter Number. Oses fcth Title-pages for binding the Four Parts can be had, price 2S. each ; post free, 2s. 4d. 1898. Modern BooK-PiATfis and Their Designers is now out of print. The Volume cohtalaiag the Four Parts lay be had for SIS., Postage in England, IS. extra; Abroad, IS. 4d. extra. *'THE 5TUDI0," Vol. XVI. is Now Ready Price 6s. (post free, 6s. 6d. ; if Abroad, 7s. 4d.) Cases for same as. each, post free, 4d. extra. Indices 3d. each, postage 2d. extra. k Course of Instruction in Wood-Carving according to tlie Japanese Method By CHARLES HOLME (Editor of "The Studio ") ii^ With Seventy-Two Illustrations and Four Plates. Bound in cloth, sm. cr. 8vo. Price 2s. 6d, net Post Free, 2s, 9d. (A Few Copies only left.) 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