Hinweis: Ihre bisherige Sitzung ist abgelaufen. Sie arbeiten in einer neuen Sitzung weiter.

Studio: international art — 34.1905

Seite: 57
DOI Heft: DOI Artikel: DOI Artikel: DOI Seite: Zitierlink: i
http://digi.ub.uni-heidelberg.de/diglit/studio1905a/0073
Lizenz: Creative Commons - Namensnennung - Weitergabe unter gleichen Bedingungen Nutzung / Bestellung
0.5
1 cm
facsimile
German Art at St. Louis

designed to suit the site, to obtain the best views
from the windows, and to harmonise with the
surrounding district.

Where the stonework is not covered with rough
cast it is composed of Forest of Dean greystone.
All the chimneys are executed in this way. The
billiard room contains a boldly treated timber roof,
with white rough cast panels, and a specially
designed electric-light pendant. The hall has a
large stone fireplace with a massive dog-grate, and
the walls of this room are covered with oak panel-
ling up to a deep stone frieze (with broad joints),
with bronze ornaments of special design and finish.
Simplicity of treatment for the most part has been
studied, and mouldings are used sparingly, and
broadly handled where used at all.

The stables are approached from the side of
the house, and are entered under the bold
squat stone tower. Like the house the walls are
covered with white rough cast and the roofs with
red tiles. The vane for this tower, which was
made by George Wragge, Limited, who also
executed several of the fittings, is in beaten iron,
and the hoop is pierced at the sides. The vane
for a House at Streatham, representing a Dutch
galleon, is of wrought iron, with copper sails, cords,
and letters, and is the work of the Guild of Handi-



i'able of sacrifice in the luneburger heide"

craft at Chipping Campden, from the design of the
architect.

We give also an illustration of a Doctors House
designed by Mr. R. Heywood Haslam.

GERMAN PAINTINGS AND
SCULPTURE AT THE ST.
LOUIS EXHIBITION. BY
MAUDE I. G. OLIVER.

The German section in the Fine Arts Building
at St. Louis imparted an air of spaciousness and
even imperial luxury—yes, imperial in very truth,
because the Kaiser himself had been largely
instrumental in the choice of works. And, indeed,
it is a much mooted question whether the gener-
ous contributions that were lent from national
museums, in the way of certain historical subjects,
might not have been omitted to advantage in a
representative art exhibit—that is to say, that they
need not have been distributed among the more
recent works, but might have been grouped
separately in a loan collection ; and the fact that
they were not so arranged gave rise to a very
general misconception concerning the artistic
merits of some excellent things. Of course all
this historic material was offered in a spirit

by hoffman n-fallersleben

57
loading ...