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that the men who led those same progressive design movements that trained women, beginning, let us say, with Henry Cole, instigator and manager of the Great Exhibition of 1851, did not themselves disdain designing teapots. Cole, under the pseudonym Felix Summerly, designed a prize-winning teapot manufactured by Minton. Prince Albert and Queen Victoria thought excellence in the design of domestic objects important enough to launch the Great Exhibition as a vehicle for promulgating the improvement of art education and industrial design in Britain. I think some confusion arises from the very word "design," which has come to connote a certain no-nonsense, even butch emphasis on structure and function as opposed to the gentler art of surface. "Design" as a concept is presented by MOMA and other institutions as if it were more intellectually exalted than—indeed divorced from— the ancient history of interior decoration, forgetting that the latter was the precinct of great architects and artists from Michelangelo and Raphael to McKim, Mead and White, but that early in the twentieth century it fell to women to invent what we know as that profession today. Think of queen bees Ruby Ross Wood and Sister Parish, their adoring drones, respectively, Billy Baldwin and Albert Hadley. If "design" in the contemporary Margaret E. Knight (American, 1838-1914), Charles B. Stillwell (American, n. d. ), Union Paper Bag Machine Company (Philadelphia, PA, est 1869). Flat- bottomed Paper Bag. 1870s-1880s. Mfr.: Duro Bag Manufacturing Company, Elizabeth, NJ. The Museum of Modern Art, new York. HYLAND