Eleven years later (1889) this experiment was repeated. In addition to prizes offered by the Fanmakers’ Company, others were offered by private individuals and public newspapers, and one hundred and six works were entered for competition. [Illustration: Fan mount by Claudius Popelin. Musée des Arts Décoratifs, Paris.] The _Queen_ newspaper, the donor of one of the prizes, commenting on the exhibition, held at Drapers’ Hall during the month of May, said: ‘Considered as a whole, the exhibition did not come up to our expectations. The liberal prizes offered ought to have brought forward finer and more original work in a branch of minor art which is to be considered as the special province of lady artists,[170] and presents so many opportunities for fanciful composition and refined taste in arranging and grouping,’ etc. In the following year, 1890, the Fanmakers’ Company decided to hold their third competitive exhibition. The _Daily Graphic_ of May 17 said: ‘The exhibition of fans organised last year by the Company of Fanmakers gave so valuable an impetus to English trade in this direction, that the Company very wisely and patriotically decided to hold another this season.’ On this occasion no less a sum than £275 was placed at the disposal of the Company, to be distributed as prizes for fans and fan designs, _the exclusive work of British subjects_, the number of exhibits reaching the very respectable total of six hundred. In 1891 an important exhibition of ancient and modern fans was held at Karlsruhe, under the patronage of the Grand Duke and Grand Duchess of Baden, a sumptuous illustrated record of the exhibition being issued, the text written by Professor Marc Rosenberg. Sixteen prizes and forty-three diplomas of honour were offered for competition, in which some of the foremost continental artists took part. Of these the distinguished Austrian painter Hans Makart claims a leading place, and may be included in the already long list of artists of the foremost rank who have given their attention to fan painting. A design in crayons and water-colour by him appeared at this exhibition, and is now in the Royal Gallery at Berlin; a charming vision of a procession of children crowding the whole field of the fan, suggesting the impossibility of having too many. Professor Eugen