ABSTRACT
Roger fry made some notes in an English railroad refreshment room. Looking around he found interior decorations with references to 13th century stained glass, a molding with “a degenerate descendent of a Graeco-Roman carved guilloche pattern” (I looked it up: guilloche, a pattern of paired lines in interlaced curves), and an 18th century satin brocade effect in the wallpaper. “This painful catalogue makes up only a small part of the inventory of the ‘art’ of the restaurant.” Fry was distressed not only because his personal taste was keyed to unique originals rather than mass-produced forms, but also because “public places of this kind merely reflect the average citizen's soul, as expressed in his home.” 1
