Nor is this the only instance that might be cited. Excellent designs for lace mounts, based upon natural forms, have from time to time been made in our schools; in this connection may be mentioned the work of Miss Lydia Hammett, of the Taunton School of Art, who has produced charming fan mounts in Brussels and other lace in which bird and plant life are happily treated, and with a proper and due sense of the limitations imposed by the material. Miss L. Oldroyd, also, has worked a number of charming lace mounts, including one for a fan presented to Queen Victoria by the Worshipful Company of Fanmakers on the occasion of the diamond jubilee. On the Continent, among some of the most admirably reticent work, a treatment more frankly unusual has been adopted, not without successful results. In the article on ‘Der Moderne Fächer,’ in the _Kunstgewerbe-blatt_ for September 1904, Frau M. Erler gives several admirable examples from Vienna and elsewhere, together with illustrations of her own work, consisting of a happy arrangement of appliqué embroidery and network or gauze insertion, extremely effective, and losing none of its value from the fact of its having been obtained by simple means. We have festoons of flowers embroidered on a light ground of gauze, with ornamental spaces of network insertion; we have the mountain-ash arranged symmetrically, the leaves painted red with embroidered outline; the ‘honesty’ treated as a broad border, the outline embroidered; the rose treated as an all-over pattern, the groundwork in artfully alternated lace and net. At the time of writing, the news of Charles Conder’s death reaches us. He was a man of singular gifts, a modern of the moderns, whose work, though doubtless derived from that of a past age, would have been impossible at any other epoch than our own. What Conder undoubtedly possessed, and in a very high degree, was that subtle quality which for lack of a better word we call _style_, a quality not easy of definition, but readily _felt_. It would be difficult to say what style _is_, it is far easier to say what it is _not_; it is not for example, _design_; a man may possess considerable power of design without much perception of style; it is not a sense of proportion, although this comes nearer the mark; it is not originality either, since a man may be very original indeed, and only prove himself ridiculous; it is rather, a happy blending of these several elements, and some others also.