• listing of relevant resources: Paris 1900, Turin 1902, St Louis 1904, London 1908

• selected images: Paris 1900, Turin 1902, St Louis 1904, London 1908

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Tapestry of "The Dance of Salome" by Frida Hansen: It is curious to compare the ultra pictorial French tapestries with the deliberately archaic productions of Det Norske Billedvæveri of Christiana, such as the Danse of Salome. Madame Frida Hausen's pictures certainly do not err on the side of the picturesque
(part 6: October 1900: page 161; quote from pages 161- 162)

Embossed leather paper by Jeffrey & Co., designed by Stephen Webb: Webb's impulse ... is towards beauty of line and form, and he is not afraid of being influenced by the Renaissance
(part 6: October 1900: page 161; quote from page 165)

Tapestries executed for the residence of George McCulloch, Esq, Queen's Gate; designed by Sir Edward Burne-Jones, and woven by William Morris & Co.:  there is nothing to compare for dignity and breadth of decorative effect with the Morris series of English hangings (part 6: October 1900: page 166; quote from page 161)

A room by Mm. Damon and Colin: Every detail in it is worth careful attention. The panelling and inlaying of the woodwork, both on the walls and overmantel, are beautiful examples of this class of work. The decoration on the frieze and the pleasing simplicity of the colour scheme generally, are noteworthy (part 6: October 1900: page 173)

Electric lamp and bronzes by M. Colin: the great electric lamp ... is a wonderful piece of workmanship. The cupids holding darts, the points of which are formed by tiny electric lamps, are charming ... The dainty statuettes ... entitled respectively "The Butterfly" and "Nereide", are also noticeable for their beauty of execution (part 6: October 1900: page 177)

Drawing-room by E. Colonna: It is really a drawing-room - a French salon in the fullest sense of the word, the room in which we receive our guests, not the pièce wherein we live; yet one longs to live there, so fascinating, so comfortable is its appearance (page 167; quote from page 166)

Carpet by E. Colonna: M. Colonna has a delightful sense of harmony, and his lines are charming in their supple grace (page 174; quote from page 170)

The Chateau Tyrolien (page 217)

The Pavilions of Horticulture and Forestry (page 225)

The Royal Pavilion as seen from the Seine: The Royal Commission acted wisely in reproducing upon the banks of the Seine a replica of that charming English manor house of the early part of the seventeenth century - Kingston House, Bradford-on-Avon. It would have been difficult to find any type more appropriate, or to suggest a better substitute. To Mr. Edwin Lutyens, a young architect of conspicuous ability, the task was confided of erecting their pavilion, and the Commission now have the gratification of finding that it is one of the chief centres of attraction in the whole of the Exhibition; there is nothing to surpass it, for there is nothing more artistically charming (page 488)

The Royal Pavilion facing south: The deep and many-lighted projecting bay windows, the angled turrets with their embossed finials, and the twisted chimney shafts, are characteristic beauties of this class of building. The roof-line is broken with gables and is enriched with perforated balustrades, while similar embellishments ornament the entrances (page 488)

Doorway in Hall: The main entrance is by a porch on the south side leading directly into THE HALL, which is laid with a black and white marble floor. The walls are panelled to a height of 5ft with a simple but well-designed oak dado, and at the entrance door is  fixed a screen, the design of which is more decorative and characteristic of the period; the pilasters, frieze, and final crestings being elaborately wrought in strapwork pattern (page 489)

The Stairway: The Grand Staircase is a very effective feature of this beautiful country house, and has been cleverly adapted by Mr Lutyens, who has taken his inspiration for it from one at Knowle Park (page 489; quote from page 492)

The staircase, first floor (page 490)

Stairway and gallery: Its fine screen is on two tiers of triple arcades, the spandrels and soffits of which are filled with ornamental strapwork, the quaint carving of the period appearing in the grotesque figures and the newel tops in the form of heraldic animals. These have been executed by Messrs Thomson and Son of Peterborough, the inlaid marble floor is by Messrs Lee Brothers of Bristol, and the Elizabethan pendant ceiling is by the Anaglypta branch of the Wallpaper Manufacturers' Company (page 490; quote from page 492)

The Hall: Above the dado hangs the splendid set of Launcelot tapestry panels designed by Sir E. Burne-Jones. These represent five scenes from the Arthurian legend of "The Quest of the San Grael" ... These panels have been lent by Mr George McCulloch, and were woven by William Morris, the great reformer in Decorative Art, and a man who will be remembered for having done more than anyone of his time to arrest vulgarity and convert the public taste into a refined conception of the beautiful (page 489)

The Library: To the right of the hall is a small LIBRARY, fitted and decorated by the Corporation of the City of Bath. The oak panelling, with an elaborately carved border, and the furniture of the room are of the usual style of the seventeenth century, and are faithfully reproduced (page 490; quote from pages 489-490)

Room designed by Baon Krauss, carried out by W. Fehlinger: One of the bedrooms is furnished for a young girl from designs by the architect Baron von Krauss, who, indeed, has also designed all the appurtenances belonging to it, including the lamp in the centre. Baron von Krauss here gives us the application of modern thought and technique to the so-called Biedermann, or old Vienna style, and nothing more charming can be imagined (page 46; quote from page 51)

Claret jug and teapot designed by R. Hammel, executed by Alfred Pollak: (page 47)

Two views of "The Rose Boudoir" by Charles R. Mackintosh and Margaret M. Mackintosh: A feeling of quiet repose, of coolness and of freshness, pervades the rooms; and in the work there is a reserve which recalls the temperament of the nation to which the architect belongs (page 92; quote from page 94)

Cup and saucer by J. Jurrian Kok: The Royal Rozenburg Manufactory of porcelain and pottery of the Hague ... deserves to be noticed first, not only on account of the importance of its exhibits, but also because of the decorative tendencies which link it intimately with the modern naturalistic movement (page 204)

The English section: the exhibition of the Arts and Crafts Society contains work where beauty of design,  coupled with excellence of workmanship, make for all that is best  (page 257; quote from page 256)

Bedroom and room designed by Baumann: what chiefly strikes us in this house ... is the lack of character and individuality in any of the rooms. It is quite impossible to picture to oneself what sort of men and women would inhabit this completely furnished abode (page 131; quote from page 133)

Dining-room in the German section, designed by Carl Spindler: I should also like to call attention to the marqueterie panels of the room designed by Carl Spindler, of Stasburg, in the Alsace-Lorraine section, for although there is nothing very remarkable in the architectural design of the furniture, the panels are fine pieces of decorative art (page 191; quote from page 196)

"In the Garden". Stained glass by G. Beltrami and G. Buffa: (page 275)

The Georgian Room: This room, with its white enriched panelling and mahogany doors, was a copy of one in an old house at Epsom, and was a good specimen of English work of the Georgian period  (page 33; quote from page 31)

Picture Gallery, room 81 (water-colours): (page 46)

Specimens of the frieze in the British Art section, designed by Walter Crane, President of the Arts and Crafts Exhibition Society: The effect of the frieze was  decidedly good ... The scheme consisted in a series of shields connected by scrolls of foliage. Inscriptions on the scrolls bore reference to the contents of the various galleries, those in the Applied Art Section to the aims of the arts and crafts movement - the unity of design and handicraft in adaptation, material, and use (page 55; quote from page 54)

Cover

Cover

The Court of Honour illuminated: When the palaces, bridges, pavilions, and cascade are lit up the effect is charming and dazzling. Nearly 100,000 electric lights outline the buildings in the court, running right down to the water's edge

Machinery Hall: This is one of the three immense buildings effectively grouped around Machinery Court wholly devoted to machinery exhibits. The area covered by these buildings is upwards of thirteen acres. In the panels on the facade of the buildings are names of the most famous engineers, both French and British

The Tudor House: An excellent example of a timber-built Tudor House. The whole structure was most carefully removed from Ipswich to the Exhibition grounds and re-erected there. Inside a very choice collection of old English furniture may be seen

Chocolate Menier: A French exhibition would be incomplete were the great firm of MENIER, the kings of the chocolate trade, not represented. The pretty pavilion shown above is a favourite one with fair visitors to the Exhibition, who fully appreciate the wonderful sweets that can be obtained there. It is, indeed, a feature of the Exhibition