_Byam Shaw_, still a young man, is just such another master of decorative lines. At the age of twenty-five he painted the picture "Love's Baubles," which now hangs in the art gallery in Liverpool. The subject he took from a poem in Rossetti's "House of Life." Beautiful women snatch after the fruit which a boy carries along on a salver. The whole is a harmony of melodious lines and rich, quiet colours. In his next picture, "Truth," he ranges himself with Boutet de Monoel or Ludwig von Zumbusch: he strives after the monumental effect that the figures of old Brueghel have. Next to Byam Shaw, _G. E. Moira_ is the chief representative of this decorative school. His picture of Pelleas and Melisande is a work quite out of the ordinary, original in arrangement, incisive, almost bitter in colour, dull-green, black, lilac, and yellow; fine in the atmosphere of Maeterlinck that pervades the whole. But he does his best work as a decorator, not as a painter of pictures that can be taken away from their setting. In the frieze with which he decorated the Trocadéro Restaurant in London he, for the first time, made use of polychrome relief, that since has played such an important part in the art of decoration, and sought to enhance the colour effect still more by the use of metal. In the Paris Exhibition he attracted considerable attention by the pictures with which he decorated the pavilion of the Peninsular and Oriental Steamship Company--simple lines and fantasies of colour which with their delicate, flowing harmony had an effect like music. His designs for stained-glass windows have the same qualities, and in his position as professor in the National College of Art at South Kensington he is bound to exert a great influence over the younger generation. _Anning Bell_, well known by his design for the cover of the _Studio_, has also done excellent work in coloured relief, especially in his frieze "Music and Dancing." _Maurice Greiffenhagen_ surprises one by the ardour of his imagination, his strong emphatic line, and the tapestry-like beauty of his colour. He reminds one of Aman-Jean, such a wonderful "old-master-like" beauty is suffused through the picture "The Sons of God looked upon the Daughters of Men." No less effective is the "gourmandise" with which he gives his interpretation the appearance of an old picture. The colours, though full of sound and movement, are at the same time so etiolated and faint that one would think the picture had hung for centuries in a dusty corner of an old church, or that spiders had spun their webs across it; the frame too is in keeping, and enhances the general effect of solemnity. The same style is found in the later work of _Frank Brangwyn_, who began by painting out-of-door pictures in the spirit of the French Impressionists, and afterwards, thanks to a visit to the East, was brought into touch with Nature saturated in colour and massive in feature. [Illustration: F. CAYLEY ROBINSON. A WINTER EVENING.