DOI Heft:
Nr. 149 (August 1905)
DOI Artikel:Levetus, A. S.: The craft schools of Austria
DOI Artikel:Covey, Arthur Sinclair: The Venice Exhibition, [2]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20712#0237
The Venice Exhibition
many present pupils, but have never met one
who was not proud of his school ; I have
seen little children, holding still smaller ones in
their arms, waiting in the evening for “father to
come out of school,” and have seen the happy
faces of the fathers, the pleasure of learning some-
thing new from sympathetic men having made
them forget their fatigue. The “mill of God
grinds slowly, but it grinds exceeding well.” We
may also say of these Fachschulen that they progress
slowly, but they progress exceeding well.
A. S. Levetus.
THE VENICE EXHIBITION:
SECOND ARTICLE. BY
ARTHUR SINCLAIR COVEY.
The German section in Venice is made up of a
decidedly well selected list of works, and happily
the works shown represent fairly well the wide
range of German art of to-day. They were not, as
was the case at the St. Louis Exposition, restricted
to the older schools, but the work comes from the
Secessionists as well, and thus the standard is
raised much above the St. Louis showing. The
committee in charge was composed of Professor
Ludwig Heterich (of the Royal Academy ot
Munich), Hermann Hahn, and Emanuel Seidl.
Professor Heterich was sent as a delegate to
represent the Germans on the International Jury,
and superintend the hanging of the German works.
To Professor Seidl was given the commission to
design the rooms.
One very original feature of their section is in
the shape of the rooms. The large one, rectangular
in its plan, opens into a second room, which is
rather in the form of a lunette. I suppose the
object of this is to avoid having many corners,
which are looked upon by exhibitors with so
much disdain.
The greater wall space of the large room is of
a cool grey, the woodwork of mahogany. The
severe square columns on either side of the large
opening connecting the rooms are surmounted by
brass caps. The use of the brass trimmings in the
room is, to say the least, unique. Four brass rods
run parallel round the room, forming part of a
severely simple frieze over a field of silvery white,
FRENCH ROOM, VENICE EXHIBITION
many present pupils, but have never met one
who was not proud of his school ; I have
seen little children, holding still smaller ones in
their arms, waiting in the evening for “father to
come out of school,” and have seen the happy
faces of the fathers, the pleasure of learning some-
thing new from sympathetic men having made
them forget their fatigue. The “mill of God
grinds slowly, but it grinds exceeding well.” We
may also say of these Fachschulen that they progress
slowly, but they progress exceeding well.
A. S. Levetus.
THE VENICE EXHIBITION:
SECOND ARTICLE. BY
ARTHUR SINCLAIR COVEY.
The German section in Venice is made up of a
decidedly well selected list of works, and happily
the works shown represent fairly well the wide
range of German art of to-day. They were not, as
was the case at the St. Louis Exposition, restricted
to the older schools, but the work comes from the
Secessionists as well, and thus the standard is
raised much above the St. Louis showing. The
committee in charge was composed of Professor
Ludwig Heterich (of the Royal Academy ot
Munich), Hermann Hahn, and Emanuel Seidl.
Professor Heterich was sent as a delegate to
represent the Germans on the International Jury,
and superintend the hanging of the German works.
To Professor Seidl was given the commission to
design the rooms.
One very original feature of their section is in
the shape of the rooms. The large one, rectangular
in its plan, opens into a second room, which is
rather in the form of a lunette. I suppose the
object of this is to avoid having many corners,
which are looked upon by exhibitors with so
much disdain.
The greater wall space of the large room is of
a cool grey, the woodwork of mahogany. The
severe square columns on either side of the large
opening connecting the rooms are surmounted by
brass caps. The use of the brass trimmings in the
room is, to say the least, unique. Four brass rods
run parallel round the room, forming part of a
severely simple frieze over a field of silvery white,
FRENCH ROOM, VENICE EXHIBITION