The more immediate and intimate--one might occasionally say imitative--influence of the Kelmscott press may be seen in the extremely interesting work of a group of young artists who own their training to the Birmingham School of Art, as developed under the taste and ability of Mr. Taylor. Three of these, Mr. C. M. Gere, Mr. E. H. New, and Mr. Gaskin, have designed illustrations for some of Mr. Morris's Kelmscott books, so that the connection of ideas is perfectly sequent and natural, and it is only as might be expected that the school should have the courage of their artistic opinions, and boldly carry into practice the results of their Kelmscott inspirations, by printing a journal themselves, "The Quest." [Illustration: C. M. GERE. FROM THE "ENGLISH ILLUSTRATED MAGAZINE" (1893).] [Illustration: (_By permission of the Corporation of Liverpool._) C. M. GERE. FROM A DRAWING FROM HIS PICTURE "THE BIRTH OF ST. GEORGE."] [Illustration: ARTHUR GASKIN. FROM "HANS ANDERSEN." (ALLEN, 1893.)] [Illustration: EDMUND H. NEW. PROCESS BLOCK FROM THE ORIGINAL PEN DRAWING.] [Sidenote: THE BIRMINGHAM SCHOOL.] Mr. Gere, Mr. Gaskin, and Mr. New may be said to be the leaders of the Birmingham School. Mr. Gere has engraved on wood some of his own designs, and he thoroughly realizes the ornamental value of bold and open line drawing in association with lettering, and is a careful and conscientious draughtsman and painter besides. A typical instance of his work is the "Finding of St. George." Mr. Gaskin's Christmas book, "King Wenceslas," is, perhaps, his best work so far as we have seen. The designs are simple and bold, and in harmony with the subject, and good in decorative character. His illustrations to Hans Christian Andersen's "Fairy Tales" are full of a naïve romantic feeling, and have much sense of the decorative possibilities of black and white drawing. Mrs. Gaskin's designs for children's books show a quaint fancy and ornamental feeling characteristic of the school. Mr. New's feeling is for quaint streets and old buildings, which he draws with conscientious thoroughness, and attention to characteristic details of construction and local variety, without any reliance on accidental atmospheric effects, but using a firm open line and broad, simple arrangements of light and shade, which give them a decorative look as book illustrations. It is owing to these qualities that they are ornamental, and not to any actual ornament. Indeed, in those cases where he has introduced borders to frame his pictures, he does not seem to me to be so successful as an ornamentist pure and simple, though in his latest work, the illustrations to Mr. Lane's edition of Isaac Walton's "Compleat Angler," there are pretty headings and tasteful title scrolls, as well as good drawings of places. [Illustration: INIGO THOMAS. FROM "THE FORMAL GARDEN." (MACMILLAN, 1892.)]