In criticism of the art of Lalique and his school it should be observed that the works of the school are apt to be unsuited to the wear and tear of actual use, and inconveniently eccentric in their details. Moreover, the preciousness of the material is an almost inevitable consideration in the jeweller's craft, and cannot be set at naught by the artist without violating the canons of his art. The movement which took its rise in France spread in due course to other countries. In England the movement conveniently described as the "arts and crafts movement" affected the design of jewelry. A group of designers has aimed at purging the jeweller's craft of its character of mere gem-mounting in conventional forms (of which the more unimaginative, representing stars, bows, flowers and the like, are varied by such absurdities as insects, birds, animals, figures of men and objects made up simply of stones clustered together). Their work is often excellently and fancifully designed, but it lacks that exquisite perfection of execution achieved by the incomparable craftsmen of France. At the same time English sculptor-decorators--such as Alfred Gilbert, R.A., and George J. Frampton, A.R.A.--have produced objects of a still higher class, but it is usually the work of the goldsmith rather than of the jeweller. Examples may be seen in the badge executed by Gilbert for the president of the Institute of Painters in Water Colours and in the mayoral chain for Preston. Symbolism here enters into the design, which has not only an ornamental but a didactic purpose. The movement was represented in other countries also. In the United States it was led by L. C. Tiffany, in Belgium by Philippe Wolfers, who occupies in Belgium the position which in France is held by René Lalique. If his design is a little heavier, it is not less beautiful in imagination or less masterly in execution. Graceful, ingenious, fanciful, elegant, fantastic by turns, his objects of jewelry and goldsmithery have a solid claim to be considered _créations d'art_. It has also been felt in Germany, Austria, Russia and Switzerland. It must be admitted that many of the best artists who have devoted themselves to jewelry have been more successful in design than in securing the lightness and strength which are required by the wearer, and which were a characteristic in the works of the Italian craftsmen of the Renaissance. For this reason many of their masterpieces are more beautiful in the case than upon the person.