German had previously employed in decorative art; they adhered as closely as possible to simple natural plant-forms, especially Hirzel. Thall- mayr, of Munich, is still working in the same style, but With more individuality than Hirzel. Thallmayr Will- certainly spend his life studying the leaves and blossoms of the trees and the flowers in his garden, While the other will doubtlcss produce new results, departing somewhat from the real forms of nature. M6hring's Works already showed this tendency When he produced them nearly at the same tirne as Hirzel his. Subsequently these artists Were occupied less With women's ornaments than With other things coming within the category of decorative art,--this owing to lack of intelligence and enterprise on the part of the jewellers and manu- facturers. Tables, chairs, and other necessary household articles found a much Wider market. But We are now dealing exclusively With Women's ornaments. Two circumstances in this connection are very strange. In the first place, it seems that the artists of the present time (I speak of Germany) are not successful in designing finger-rings. Here and there one sees an attempt made to design characteristic shapes, but the sphere of the ring is so confined that nobody has succeeded in producing anything really elegant and novel. Mostly one sees extravagant examples, of confused design. The second peculiar fact is, that one very seldom finds an artist devoting himself to designing earrings. The whole artistic move- ment in relation to women's ornaments is still somewhat puerile. This may be recognised by the absence of the car-ring, that most superior ornament, Which, unlike all others, has an independent language of its own. Although in the list of female ornaments the clasp and the brooch occupy the foremost place, the pendant for the breast should not be forgotten. The mission of the pendant is to show by its fancy and its tastefulness how and in What degree the German is distinguished from the Englishman and from the F renchman. I WILL mention in this connection two artists living in Germany who are not Germans, but by their manner of life and work might be such. Both these artists, in their several ways, will exercise great influence on the development of our ornaments. I refer to Van der Velde and Olbrich. It is Well known that the first is a Belgian, While the other is a foreigner, inasmuch as he comes from Austria. OLBRICH'S pendants and pins are very characteristic. He takes a hammered gold-plate, enriches it With precious stones and enamel, and adds a rim set With long pearls. lt is easy to see that he is fond of