sofa's and woven tapestries, simplistic 'Japanese character' drawers and cabinets, bronze and paper lanterns and lighting fixtures and porcelain jars which Menpes collaborated with Japanese potters on whilst in Japan. "Mr. Menpes, by his free application of gold and colours and by his display in European fashion of numerous ornaments, has rather gone beyond Japanese custom in domestic interiors, ... as he has wished to adapt from rather than slavishly imitate the prototype. ... there is a growing feeling in the minds of many, and especially among those to whom the question of expense is not of paramount importance, that a house, to be in the highest sense an artistic house, should contain no decorations but those made by the hands of man, and especially adapted to their surroundings. Let ornament be used as sparingly as may be desired, but whatever there is of it, let it be of the best. Plain structural forms and plain surfaces add to rather than detract from the beauty of a house, provided their proportions are duly considered and that they are so placed that they relieve in effect some object of consummate decorative value." The Studio #17 (1899) In 1891 the Japan Society was founded, and began to disseminate the writings of British expatriates who had worked within Japan, and writings on Japanese art, on topics such as Japanese woodwork, metalwork and Japanese artists Toyokuni I, Hiroshige, Kyosai, the Kano School. Contemporary Japanese art critics also published with the society such as Yone Noguchi and Okakura Kakuzō. Arthur Silver at Rottman, Strome, and Co began using the Ise katagami technique to make wallpaper. Andrew White Tuer also publishes information on katagami stencilling, promoted in England as sanitary 'leather paper' in his Book of Delightful and Strange Designs, Being One Hundred Facsimile Illustrations of the Art of the Japanese Stencil Cutter (1892). Furniture in the Anglo Japanese style was also reported by this time to have begun to use Mother-of-Pearl-inlay, a traditionally Japanese material made in Japan and imported for the British market. Allen William Seaby, pupil of Fletchley at the University of Reading begins to study Japanese woodblock printing. One notable example from the decade of the move into the modern style includes Aubrey Beardsley, who intertwined the influence of what was termed in England the Modern Style with Japanese woodblock prints (such as Hokusai's Manga, made from 1814 to 1878) to form