at the Glasgow school of Art, producing a Japanese inspired work in Part Seen, Part Imagined in 1896 shown in the kimono style garment portrayed, and also submitting architectural designs to the Glasgow School of Art inspired by the Mon crests based on 'Kinuo Tanaka's I-Ro-Ha Mon-Cho''' (or 1881 edition Catalogue of Mon) and on the 'temporary nature of Japanese joinery'. He is thought to have been introduced to Japonisme by Hermann Muthesius in 1897. In turn, he influenced the arts of Siegfried Bing and Gustav Klimt, with his influence on the European circle of Viennese designers who took inspiration in his blending of Celtic and Japanese motif designs. It is particular noticeable of 'the relationship between Mackintosh and Japan from the interior design of the 120 Mains Street flat' of 1900 and in his kimono cabinet (c. 1906). Notably, 'Japan has played an important role in triggering [the] ideas of modernism, when [Mackintosh also] attracted most attention' at the turn of the 20th century in his designs in Continental Europe. United States In the United States, early appreciation of the Anglo-Japanese style was also transferred over in the posthumous publications of Charles Locke Eastlake's Hints on Household Taste (first published in 1868). When I look into the windows of a fashionable establishment devoted to decorative art, and see the monstrosities which are daily offered to the public in the name of taste ... which pass for ornament in the nineteenth century – I cannot help thinking how much we might learn from those nations whose art it has long been our custom to despise[, such as] from the half-civilised craftsmen of Japan The Aesthetics brought Japanese influences to the United States. Some of the glass and silverwork by Louis Comfort Tiffany, textiles and wallpaper by Candace Wheeler, and the furniture of Kimbel & Cabus, Daniel Pabst, Nimura & Sato, and the Herter Brothers (particularly that produced after 1870) shows influence of the Anglo-Japanese style. The Herter Brothers drew heavily from the furniture of Godwin and Dresser in their motifs and asymmetrical design, but American Anglo-Japanese styles lent towards the older more favoured heavily decorative and ornamental Victorian styles. Beginning in 1877, Godwin began publishing his Art Furniture Catalogue, which popularised Japanese motifs in the United States until the late 1880s, and Dresser became the first designer to visit and design using Japanese decorative art styles, influencing the style in