THE holly and the robin Christmas card is still with us. So is the Old Master Christmas card (the museums a London make up lovely series, religious and secular, from their exhibits). We are grateful for these reproductions of the great and treasure those cards received from such august sources, but we regret the robin and have scant sympathy for his hackneyed yearly appearance.
Betweeti these two diverse productions there is a gap. The Christmas card of 1939 ought to be designed in 1939 and bear the mark of Christmas, 1939not the mark of a Renaissance Christmas or of a Victorian Christmas.
For years a few selected artists have produced cards for a few selected shops and a few selected members of the public have bought the work. By now appreciation has widened and serenely reassured cards of good plain designs appear everywhere.
IN the Catho/ic world the Catholic: artist, imbued with the true tradition of Christian art, has led this MOVEMent of simple, unpretentious design for re/igioiss subject.n. From the riches of the Church's aturgy tho designer ha v found inspiration. From the Psalter and the mural he has found models for his modern interpretation of the mystery of Christ's birthday.
On this page are reproductions of a small selection only of the Christmas cards available from Catholic sources. We acknowledge (from the top reading downwards) Prinknash Abbey (illuminated plain chant), Joseph Cusack of Art Notes (Gloria in Excelsis Deo) and Mayne Meliersh (Sursum Corda).
Over and above these we would mention the creative and imaginative work of Edward Westbrook; of the nuns of Stanbrook Abbey and of Syon Abbey; and of the Ditchling Press, which space does not permit or coloured subject matter will not allow of reproduction here. Among the most popular religious cards those of Messrs. Burns, Oates and Washbourne are now a byword.