1. Industrial design in the glassware industry, in the sense in which the Council is concerned with it, includes the shape, size, colour, decoration, and performance of the product. It has reference not only to the aesthetic standards which the industry sets before itself in discharge of its function as a public servant wishing to give a lead to public taste and to assist in raising the standard of life, but also, and very prominently, to questions of saleability and “make-ability.” It includes among other things such questions as the supply and training of designers and technical design staffs — designer cutters, etc.

2. The exceptionally large part played by design in the British glassware industry is well known; the industry has won its reputation with consumers at home and abroad largely through the design quality of its products. The Council is not undertaking the formidable, indeed presumptuous, task of teaching the industry its business. Its purpose in offering evidence to the Working Party is to lay before it the results of enquiry into and reflection upon the present problems of the industry, and to make certain suggestions for the methods by which the industry may, if it sees fit, help itself, help the public, and make the maximum contribution to the export drive.

3. Exports. At present most firms in the trade find they can export anything they can make to almost any market; the question is not whether orders can be obtained but whether all potential customers can be placated until increased supplies are available. The proportion of domestic and fancy glassware (pressed and hand-blown) exported during 1938 was only 8.6 per cent. of the total output; though a number of hand-blown glassware manufacturers exported more than this proportion, many are now planning to do a larger export trade than previously, the target varying between 30 per cent. and 60 per cent. of the total output. A general tendency for exports to decrease was noticeable in the inter-war period; exports to Australia, Eire, India, U.S.A. and the Argentine all declined steeply in value, and were not offset by the increased exports to South Africa, New Zealand and Canada. There were a number of obvious reasons for this decline. An examination of the imports of the former countries shows that our chief competitors were Czechoslovakia, Germany and to a lesser degree, Japan. The German products were inferior in quality to the British, but, because they were subsidised, were much cheaper in the Canadian and Argen­tinian markets. Czech cut-glass was cheaper than the German, both because the method of cutting — division of the operation into a number of single cuts done in turn by different operatives — required less skill, and because labour was in any case cheaper in that country. Though the products of these countries were much inferior to British ones, they had a wealth of cutting which deceived the uneducated purchaser into thinking he was obtaining a great deal for his money, and he therefore bought the less costly article. These two countries were also the British manufacturers’ chief competitors in the home market, together with Belgium. The Czechs sent us a quantity of simple uncut glass.

of very good shape and design, selling at low prices. The U.S.A., Canada and France also supplied the British market with glass, but to a greater extent in 1924 than in 1938; in the latter year 48.6 per cent., of the home market was held by British manufacturers. The only noteworthy increases in the interim period were from Japan, which produced very cheap wares, and Sweden.

4. Mention of the latter country leads us to examine the vogue which was increasing among connoisseurs for a different type of glassware in the higher-price ranges, which should suit modern taste. These new ideas formed a strong contrast to the increasing popularity of heavily cut cheap glassware. The new glassware revealed the blower’s skill by its beautiful shape, and relied for its effect on purity of form and material; the decoration, whether engraving, intaglio or cutting, had to be perfect in itself, because it was thrown into bold relief on the clear surface, but always served to emphasise rather than obscure the shape of the article. Some British manufacturers produced many fine examples of this type of work and were pioneers in introducing it to the Continent. Nevertheless, it is probably true to say that in many foreign markets such as the U.S.A. this style is associated with Swedish or French production and the heavily cut wares with Britain.

5. This pre-war position suggests several points about the design of their products which glassware manufacturers might consider afresh.

6. The accusation has sometimes been levelled against the best quality English glassware that it is too heavily cut to suit modern taste, that a wealth of ornamentation is applied which gives a heavy overpowering effect, obscures the shape of the glass, and is not in itself an integrated design, but a collection of intricacies evolved by the cutter to demonstrate his skill. Most manufacturers are well aware of the design effects of this type of glass, but they continue to produce it for the very excellent reason that these goods, on which their reputation was largely built, still sell in some markets, such as South America. It is also believed that when a new design is produced, many retailers are hostile and make no attempt to promote sales, but prefer the old “safe” lines. Moreover, many manufacturers have large cutting departments catering for assured markets, and experiments can only be made by dislocating normal production and having some cutters under-employed. Nevertheless, it is well to remember that tastes do change. It is obviously good business to supply what the consumer wants, and while he asks for the old styles they must be produced. At the same time it would be a mistake to allow new tastes in design of glassware to go uncatered for and be lost entirely to foreign producers. It is said that the U.S.A. looks for “style” in glassware to Sweden and France, but for massive opulence and “old-fashioned” designs to England; and most manufacturers would agree that it is unwise to allow their names to become associated only with “Olde Englishe” designs. There is a growing taste for a lighter and more delicate type of cutting following graceful patterns, and no justification should be given for a mistaken belief in some quarters that British manufacturers do not produce excellent examples of such work.

7. There is a further reason why it seems inadvisable for British manufac­turers to allow their reputation to be based too exclusively on heavily cut glass. Some of the skilled cutters who were called up during the war are not returning to their former occupation, and few new recruits are coming forward to take their place. It seems likely, therefore, that it will be increasingly difficult to supply the old-fashioned styles if the number of cutters is small, and less

complicated patterns will have to take their place. The present time, while shortage of supplies makes customers unusually willing to take anything they can get, provides an opportunity which will probably not recur for propagating new ideas; some firms have realised this and have adopted a measure of standardisation by limiting the number of designs in current production, thus achieving considerable economies in man hours. This limitation also prevents customers from ordering small quantities of any design a firm has ever produced, as was often done in pre-war days, a practice which was often found to be uneconomic from the manufacturers’ point of view. The happiest solution for the future would seem to be the utilisation of the skill of the smaller number of cutters available to produce a limited number of designs which would satisfy the various tastes, but expressing rather the spirit of our own time than that of former ages.

8. To evolve designs which capture the public eye, a highly specialised designer is needed. Most of the leading firms, recognising that the ideas of skilled workers alone are not enough, have employed designers of various sorts from time to time. Where famous artists have been engaged, the result has sometimes not been commercially satisfactory; it is possible that in some cases these artists may not have had sufficient technical background to succeed in adapting their ideas to the peculiar qualities of glass. On the other hand, there appears not to be at present a sufficient number of talented students passing through the Stourbridge and Edinburgh Schools of Art to provide an adequate supply of first-rate designers for the industry’s requirements.

9. British firms have a chance now of capturing some of the markets which previously went to Germany and Czechoslovakia. Obviously blown-glass manufacturers could not and would not wish to compete in price with the cheapest type of product; but in the European countries — for instance, Norway, Sweden, Denmark, Holland, Belgium, France, Switzerland, Italy, Greece — which formerly imported their glassware chiefly from Germany and Czecho­slovakia, there is probably a large section of the population which would pay slightly more for a better article.

10. The case for an active and progressive design policy has been developed in the foregoing paragraphs largely with reference to the export trade, but consideration of the home market suggests that the case there is not less strong and points in the same direction. Without neglecting or turning its back upon that conservative section of the market which may still prefer traditional deep cut styles, the industry may well find that an important new element of effective demand will make itself apparent at home as soon as the consumer has the opportunity to exercise freedom of choice. After the first rush of pent-up demand from the general body of consumers, a large proportion of the glass bought will go to the younger generation of home makers, whose taste and outlook must have been very greatly affected by the revolutionary experiences through which they have passed during the last seven years. The war and the social changes accompanying it must have predisposed many hundreds of thousands of people to a desire for change and a readiness to look in new directions in the matter of equipment for daily living. Education in the Services (and it would be difficult to over-estimate the effects of Service experience on the ideas and outlook of the younger generation, especially the women) and the steady pressure of bodies like the B.B.C., the Arts Council, and various adult education movements, towards a keener standard of critical judgment

among designers of various types. The glass industry can take concerted steps to attract, interest, and — to the necessary extent — train these important potential allies. Individual firms may find here and there able recruits for part-time service, but a systematic attempt to find and mobilise a few score “possibles,” to rouse their interest and bring them into close touch with manufacturers, should be a matter for the industry acting as a whole.

14. How wide may be the field for the whole-time employment of people of this calibre is another matter which the industry as a whole would do well to consider. This would follow naturally and easily from the attempt to mobilise free-lance design talent.

15. The problem of the training of whole-time designers and craftsmen is a matter raising some separate issues, on which a short note is appended.

16. There should also be means to refresh the minds of designers, the senior members of design room staffs, sales executives, and indeed manufacturers themselves in so far as they plan an active part, as many of them do, in the formulation and execution of the design policies of their firms. There are many kinds of stimulating influences which could be brought to bear upon the minds of these various groups, cut off as many of them inevitably are from the main consumer markets, the centres of style and taste, the museum, galleries and lecture courses of the great cities. A library could be organised with a wide collection of trade, technical and artistic papers, and perhaps a changing succession of pictures and photographs. Books and documents illustrating the history of glass design could be bought or borrowed. Small exhibitions of contemporary design from various overseas countries could be collected, inter­spersed with others of historical.British design borrowed from museums and collectors. Exhibitions of paintings of floral and other appropriate natural or abstract forms would play their part. Lectures and courses could be arranged. Concerted measures could be taken to enable design room staffs to visit London and other large cities to see and hear things for themselves. Again, there is need for some central organisation representing the industry as a whole.

17. To express the spirit of the age a designer needs not only to be con­versant with the latest developments in art but also to be able to obtain the latest information in technical and scientific subjects — new mixtures of raw materials, new methods of glazing, progress in the control of colour in glass. These matters are the province of the Society of Glass Technology, whose membership covers most of the firms in the industry. The designer needs to be able to obtain this information regularly and quickly, and an organisation which would keep in touch with the Society and present items of interest to designers and directors of firms in an easily digestible form would be useful. Such an organisation would also provide a news service giving details of the latest developments in other branches of the glass industry such as scientific glassware, and in other industries such as plastics; the news being obtained from the scientific and trade associations of the industries concerned, such as the British Scientific Instruments Research Association and the British Plastic Manufacturers’ Federation.

18. A first-class Information Service, which could provide indications of new trends in taste in overseas markets, would be invaluable. Information on the requirements of foreign consumers is at present obtained only by firms with overseas agents who order goods as they are needed; the old “best­sellers” are naturally usually preferred to the risk of trying out new designs.

At present there is no co-ordinated study of new trends in these markets; and about other markets where sales of British goods have hitherto been small, there is even less information. A service of the type envisaged would help manufacturers to find out what types of goods, at what price, would sell in any specified market, and would help them to avoid undue reliance on old patterns and to minimise their risks when trying out new lines.

19. Measures should also be taken to keep manufacturers and designers in close touch with developments in other industries concerned with household equipment and decoration — furniture, furnishing fabrics, pottery, tableware, etc. This is, in a sense, one particular aspect of the industry’s task of keeping itself abreast of current developments in design and taste, but it indicates with especial force the value of some co-operative action by the industry, since this is so much the simplest way of maintaining effective contact with designers and creative thinkers in related industries, many of which will themselves, in course of time, have established corporate design organisations of their own.

20. The question of relations with the retail trade must not be neglected. Again, there are obvious defects in the individual method of approach. There is no need to enlarge on these — the industry must know only too well the difficulty of making headway with the retail trade on behalf of any new and progressive developments in design. But if manufacturers were organised to tackle this as well as other sides of the task of achieving a progressive design policy, it would be easier to take measures to put the industry’s general plans and policies before buyers and sales staffs — to organise visits to various works, to hold courses of lectures, and to produce and distribute educational propaganda.

21. It will have been evident from the foregoing that in the opinion of the Council of Industrial Design co-operative measures are required if all these various requisites to a progressive design policy for the industry are to be supplied. None of the measures proposed could be taken as effectively by individual firms as by the industry acting together for the purpose. It should be clear that we are not proposing corporate action for the production of designs or for the actual training of designers at a common centre. We shall proceed to list the functions which a corporate design agency representing the industry could perform. But before doing so, let us make it clear that we realise the fact that the domestic glass industry is not a large or wealthy industry and that it must cut its coat according to its cloth. The type of corporate design agency which we envisage need not be a very large or costly affair. The con­stitutional form of a Design Centre is set out in the official memorandum on the subject, of which copies have been provided. A centre is run by a governing body, the bulk of whose membership is nominated by the industry. There is a representative from the Council of Industrial Design, one from the Depart­ment of Scientific and Industrial Research, and such other representatives of special interests, e.g., training, as may be determined. The industry itself, however, has the preponderant voice. The Centre is its centre, the instrument of its purposes within the general lines of policy that are laid down. While this is a matter for the industry itself to decide, it would seem natural and proper for members of the Design Committee of the Glass Manufacturers’ Federation to play a part in conducting the Centre’s affairs — indeed the Centre might, from certain points of view, be described as a practical instrument for carrying out the general policy which the Design Committee appears to be laying down. Under the governing body would be a director of high calibre

23. On the whole, we are of opinion that the right place for a centre of this kind is in Stourbridge; but there is no doubt that many advantages would accrue if and when it were possible to maintain an outpost, however small, in London. This is where the part-time designers are mostly to be found; this is the main retail market, the country’s principal centre of taste and fashion. Much would be gained if there were a point in the West End where contact could be maintained with designers, buyers, writers, educationalists, and others, and if suitable exhibitions held at Stourbridge could be sent for a short period to London. If such a central West End outpost is not financially practicable at the outset it might be possible for firms who have, or contemplate having, West End offices and showrooms to concert some means of giving the Director of the Stourbridge Design Centre and his chief assistants a pied-à-terre in the West End. They might also be able to put at his disposal from time to time display premises where small exhibitions could be staged for the benefit of the many types of London specialists whose attention and interest it would be to the industry’s advantage to engage.

24. We have confined ourselves in this memorandum to the field covered by the Working Party’s terms of reference — domestic hand-blown glassware. We cannot, however, exclude from our own minds the fact that the automatic pressed and blown-glass section of the industry has design problems which may, in many respects, resemble or be supplementary to those of the hand-blown section. Its methods are different, and so are the technical problems with which its designers have to cope. But in the field of designer training and recruitment, the general stimulation of designers, contact with the retail trade, market in­vestigation, information service and contact with other industries (to name no other matters) there is much opportunity for common action. It therefore seems to us to be desirable that the automatic section should be associated with the hand-blown section in any recommendations affecting the future organisation of the industry in the field of design. Both functionally and financially this association would appear to have advantages. It is not for us to say whether such an idea is considered by the Working Party to fall within the proper scope of its recommendations. We can do no more — and we feel we should do no less — than express the opinion that such a partnership for design purposes would be a natural and most advantageous one.

July, 1946.

At the request of the Working Party, H.M. Factory Inspectorate have had tests on ventilation carried out in several glasshouses, and from these the following conclusions can be drawn:—

1. The maximum average corrected effective temperature for reasonable effort in the glasshouse should be of the order of 75° F., as compared with the maximum of 80° F. prescribed for H.M. Ships in the Tropics.
2. The measurements actually made show that temperatures considerably in excess of 75° F. are normally met during average outside temperature conditions.
3. Screening by single asbestos curtains or metal sheets produces some im­provement provided they are properly adjusted. With thin curtains and sheets there is not much to choose between asbestos and sheet metal.
4. Screening is made much more effective if a double screen with an inter­vening air gap of about 3 in. is allowed, although actual dimension of this air gap is not critical. Corrected effective temperatures were reduced some 8-10° F. by using double screens.
5. Owing to the very large heat gains, most of the heat will have to be removed by air changes, and the only reliable method of obtaining the required number of air changes will be by mechanical extraction. The method which appears likely to be the most effective is to employ extractor fans in the roof.
6. Internal circulation of the air by local paddle or orbit fans can produce a considerably increased cooling effect, but it is important to avoid excessive draughts, and hence it is preferable to use several small fans rather than a few large ones. With the air temperatures prevailing in glasshouses in summer, air movements up to about 350 ft. per minute could probably be employed.
7. In addition to the exchange of air resulting from natural draughts, the fan capacity and inlet ducts must be designed to provide exchange of air sufficient to make the full necessary air changes. Adequate distribution ducts, properly dispersed, must be provided to give suitable distribution in the glasshouse without undesirable high velocity near where the men are working. It is interesting to record that a system designed in this way has proved entirely effective.
8. The effectiveness of any steps taken on the above lines can be checked by comparative globe thermometer readings, and these should be taken to give an index of the progress made. However, a check should be made based on corrected effective temperatures, and by the comfort of the workers.

Note on Training

1. The problem of design training for the domestic and fancy hand-blown glass industry is not so acute as in some others. Only a few firms are involved, and of these none carries a large design staff. Moreover, there have not been those technical developments, so marked in some industries, which demand a radically new approach to the design problem. Nevertheless this section of the glass industry is one in which design is a factor of extreme importance, and it is therefore essential to ensure that the best available design talent is recruited to it.

2. The decoration of glass by cutting, intaglio or engraving, does not require very extensive knowledge or experience on the part of the designer. Good taste, original ideas and a sense of contemporary style are more important than technique. These are qualities which should be and often are inculcated by a normal art school training, and there are many promising design students in all parts of the country who, if an effort were made to secure them, might prove excellent recruits to the industry. When first recruited, however, they must not be regarded as fully trained designers. The function of the Art School is to provide a basic training in the enduring principles of design; it is the complementary responsibility of industry to help students with that training to apply themselves to its special problems by contributing itself the necessary knowledge of its own techniques.

3. Efforts should be made, therefore, to interest other schools besides Stourbridge, Edinburgh, the Royal College of Art, and Guildford, in Glass Design. To this end competitions and prizes for art school students should be provided by the glass industry and widely publicised. Winners of the competitions should be offered periods of training in factories, either during the vacations or at the end of their art school course, on attractive conditions. This might recruit individuals who would be useful one day as permanent staff, and it might also provide a valuable source of talent to be tapped later on a free-lance basis. Consideration should also be given to the preparation of a textbook or manual on glass design, covering the three main branches of surface design, for use in art schools throughout the country.

4. Free-lance designs, as has been said in the main paper, will necessarily form a substantial proportion of those used by this section of the glass industry.

A small permanent design staff will, however, always be necessary in every firm to ensure a coherent design policy, and it is important that designers so retained should be alert and receptive to new ideas. It is most desirable to recruit into the industry individuals of high creative calibre and to offer them conditions of employment which will allow for the full and continuous develop­ment of their talent. Many of the most able art school students are lured every year away from the service of industry by the more attractive induce­ments offered by teaching. If industry were to offer rates of pay at least as good as the new Burnham rates for Technical Teachers, this position could quickly be redressed. Again, creative talent must inevitably become stale if not constantly refreshed and stimulated by outside influences. Every oppor­tunity must be offered to staff designers to keep their minds alive to cultural

activities both at home and abroad. In addition, therefore, to visiting exhibi­tions, etc., in London and elsewhere every year, consideration should be given to allowing them, every three to five years, six months’ continuous holiday for travel and study.

5. The problem of training craftsmen in the glass industry — those actually employed in cutting, in intaglio and in engraving — is another of great importance. These craftsmen do not initiate designs, but by the exercise of their skill they are able either to make or to mar the designer’s conception. Relatively small artistic capacity may be required for deep cutting of, say, abstract floral patterns of the traditional type, but where more delicate work is required involving perhaps complicated and freer shapes, such as stylised animal or human figures, some sure knowledge of representational drawing is needed. This form of decoration, as has been pointed out elsewhere, is likely to be in increasing demand in future. The glass industry would, there­fore, be well advised to consider providing opportunities for their craftsmen to obtain training in the local art school during the daytime on a more substantial scale than is at present the custom.

6. There is no doubt that more training of a more advanced character than is usually provided is required in many branches of Industrial Design. This is particularly true of the Glass Industry. Post-graduate training is needed alike for those who have undergone an art school training and for those who have already had industrial experience. Plans for the establishment of post­graduate facilities at Edinburgh for design training appear to be in an advanced state. We understand that an agreement has been reached between the Glass Manufacturers’ Federation and the Edinburgh College of Art for a combined research and design training institution, independently financed, whose object will be to turn out a small number of highly qualified designers of the first rank each year. This appears to us to be a valuable step forward. We have heard only two objections to the idea: one the distance that separates Edinburgh from the centre of production at Stourbridge, an objection which seems to us by no means decisive and in any case academic in view of the special facilities Edinburgh can offer and the decisions already reached; and the other that the industry does not offer a wide enough field for the graduates of such a specialised and high level department. To this the answers appear to us to be, first, that the scope of the project will no doubt be related practically to the probable market; and secondly, that if the industry makes full use of the opportunities now lying before it in the field of design and elsewhere, its size and its need of first-class whole-time designers may very well be substantially increased during the coming years.

THIS DEED OF APPRENTICESHIP made the ______________ day of ______________
19____ between _________________________ of _____________________________ in
the County of _____________________ (hereinafter called “the Apprentice”) of the
first part _________________________________ of ____________________________
in the County of _______________________ (hereinafter called “the Guardian”) of
the second part and _________________________________________ Limited whose
Registered office is situate at _________________________________ in the County
of ____________________ Glass Manufacturers (hereinafter called “the Company”)
of the third part.

WITNESSETH that the Apprentice with the consent of the Guardian (testified by his execution of these presents) hereby agrees to serve the Company as an Apprentice and the Company hereby agree to accept the Apprentice upon the conditions hereinafter contained, viz. :—

1. The Apprentice and the Guardian hereby covenant with the Company as follows :—
   1. That the Apprentice will as from the _____ day of _________
      19___ serve the Company as an Apprentice until he shall attain the
      age of 20 years or for the term of five years from such date whichever is the earlier; such total period is hereinafter called “the period of apprenticeship.”
   2. That the Apprentice will during the period of apprenticeship :—
      1. Obey the lawful orders of the Company.
      2. Observe and be subject to the Glass Cutters and Decorators Working Customs and Conditions as greed between the Company, the Members of the Stourbridge Glass Manufacturers Association and the National Union of Glass Cutters and Decorators (hereinafter called “the Working Customs and Conditions”).
      3. To the best of his ability promote the interests of the Company.
      4. At the direction of the Company regularly and punctually attend such Night School or other course of instruction as the Company may designate for the purpose of training the Apprentice being paid by the Company in respect of such attendance a sum equivalent to the wages at the current rate that he may be receiving while working at the works of the Company and being also paid all necessary out-of-pocket payments in respect of such attendance and being provided by the Company with the necessary tools for the purpose.

1. 3. That the Apprentice will not during the period of apprenticeship:—
      1. Reveal the secrets of the Company’s business to any person firm or Company and will when required give to the Company a true account of any goods and money which may be committed to his care or come to his hands.
      2. Do or permit or suffer to be done any damage or other injury to the property of the Company or its customers.
      3. Absent himself from the service of the Company without permission (except in the event of sickness).
2. Provided that the obligations contained in Clause I hereof shall be duly observed and performed the Company hereby covenants with the Apprentice and the Guardian during the period of apprenticeship :—
   1. To observe the conditions of employment and pay the wages set out in the Glass Cutters and Decorators Working Customs and Conditions (Clauses 16, 17 and 18 (a)) for the time being in force. (Clauses 16, 17 and 18 (a) of the Glass Cutters and Decorators Working Customs and Conditions as at present in force are set out in the Schedule hereto.)
   2. To such extent as is practicable (having regard to the conditions of work and of organisation from time to time existing in the Company’s works or the particular department in which the Apprentice is working) permit the Apprentice to acquire a practical knowledge of the trade of a Glass Decorator.
   3. On the termination of the period of apprenticeship (if the Apprentice shall have given satisfaction throughout such period) give to the Apprentice a Certificate to the effect that the Apprentice has satisfactorily served his apprenticeship.
3. It is hereby agreed and declared as follows :—
   1. All questions and disputes concerning the Working Customs and Conditions or as to the interpretation of this deed shall in the first instance be referred to the Works Committee in the Company’s Works or failing them to the J.C.C. for the Stourbridge Glass Trade.
   2. If the Apprentice shall wilfully disobey the lawful orders of the Company or shall persistently neglect or refuse to comply with the provisions of these presents or shall grossly misconduct himself or shall habitually absent himself from work without the Company’s consent (except in the event of sickness certified by a duly qualified Medical Practitioner) the Company may discharge the Apprentice without any notice whatever and if the Apprentice after a sufficient period of trial has elapsed shows no signs of becoming a satisfactory Decorator the Company may (after notifying the Works Committee and considering any recommendation made by such Committee) discharge the Apprentice from its service on giving to him 28 days notice in writing and thereupon this Deed shall be considered to be discharged but nevertheless the provisions of Clause I (3) (a) hereof shall continue in force whether the Apprentice is discharged with or without notice.

3. If by reason of being unable to obtain materials or by reason of furnace repair or rebuilding or in consequence of an accident or trade dispute or trade depression or for any cause beyond the Company’s control the Company shall find it necessary at any time or from time to time to close down its works or the particular department thereof in which the Apprentice may at the time be working or to reduce the volume or alter the character of the work done in such Works or the particular department so that the Apprentice cannot continue to be usefully employed or enjoy the facilities for acquiring a practical knowledge of the trade of a Glass Decorator the Apprentice shall not be entitled to claim to work or to enjoy such facilities during such time save on such basis of short time as the Company may think it best to adopt and during such period of closing down or short time the provisions of this Deed shall not apply to either, party hereto in respect of any working time which the Apprentice by reason of such closing down or short time is not working PROVIDED that if in any year of service the Apprentice is prevented under the operation of this clause from working for a total period exceeding six weeks or be required to work on short time more than 18 weeks the Apprentice and the Guardian may by notice in writing by both of them and sent to the Registered Office of the Company determine this Deed of Apprenticeship.
   
   IN WITNESS whereof the Apprentice and the Guardian have here­unto set their hands and seals and the Company have caused their Common Seal to be hereunto affixed the day and year first before written.

THE SCHEDULE BEFORE REFERRED TO

Clauses 16, 17 and 18 (a) of the Glass Cutters and Decorators’ Working Customs and Conditions as amended and now in force.

16. Employment of Juvenile Labour up to 18 years of age.

Without prejudice to the terms set forth in Clause 15 an Associated member shall have the unrestricted right to employ such Juvenile (male and female) Glass cutters and Decorators to any extent, provided that the Associated Member shall cause reference of each Juvenile Glass Cutter and Decorator so employed to be made to the Works Committee concerned on the first, second and third anniversary of the engagement of the Juvenile Glass Cutter or Decorator, and the Works Committee concerned shall be satisfied that each Juvenile Glass Cutter and Decorator possesses the ability, general characteristics and character which justify continued employment. Full reference may be made by the Associated Member or Juvenile Glass Cutter or Decorator in accordance with Clauses 11 and 12. Provided always that the Rates of Pay shall be as follows :—

Of the basic rate paid to Journeymen, Male Glass Cutters and Decorators.

17. Rates of Pay of Males between the ages of 18 and 21 years.

It is understood and agreed that in the event of an Associated Member engaging a male Glass Cutter or Decorator between the ages of 18 and 21 years the rate of pay shall be as follows :—

18. APPRENTICES.

(a) Eligibility : A Youth may be considered eligible for apprenticeship on approval by the Works Committee and shall then be properly indentured.

(b) Period : Until he has attained the age of 20 years or for the term of five years, whichever is the earlier.

(c) Allowances :—

(d) Apprentices’ Bonus for diligence and ability.

If at any time the Works Committee are entirely in Agreement, that an Apprentice has attained the standards of ability and diligence required by them, then the efficiency bonus shall be paid thereafter according to the scale hereunder :—

Whether Apprentices or not, the wages of Juveniles shall not be calculated on any other system, and the above are maximum rates.

SIGNED SEALED AND DELIVERED
by the before-named
in the presence of

SIGNED SEALED AND DELIVERED
by the before-named
in the presence of

THE COMMON SEAL of
Limited was hereunto affixed
in the presence of:—

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