DOI issue:
No. 66 (August, 1902)
DOI article:The international exhibition of modern decorative art at Turin, [3]: the Scottish section
DOI Page / Citation link:https://doi.org/10.11588/diglit.22774#0132
Turin Exhibition
looks into rooms whose
simple tones and har-
monies afford a welcome
relief to an eye tired
with the glare of an
Italian sun.
Rarely has such un-
promising material been
more happily or success-
fully dealt with, and it
is not a matter of wonder
that the section is receiv-
ing much interested at-
tention, nor that the
verdict passed upon the
rooms leading the one into the other, and lighted
entirely from the sides by large windows, whose
sills are eight feet from the ground. This gives an
unbroken wall space for hanging. The first room
is white, silver, and rose ; the second toned white
and grey gold, enlivened on one wall by a frieze of
pink and green ; while the other and largest room
is golden purple and white. All wall spaces above
the window-sill line, and all ceilings, have been
whitewashed and the woodwork throughout painted
white. A feeling of quiet repose, of coolness and
of freshness, pervades the rooms ; and in the work
there is a reserve which recalls the temperament of
the nation to which the architect belongs. A
happy feature is the treatment of the electric
LEADED GLASS WINDOW
BY C. R. MACKINTOSH
work is one that adds
solidly to the already
rapidly-growing reputation
of Mr. Mackintosh. The
photographs which accom-
pany this article explain
the treatment adopted, but
something remains to be
said as to ends and aims.
From the first, the archi-
tect decided that the rooms
without any exhibits should
be in themselves and for
themselves matter for ex-
hibition. Containing no-
thing, they yet should be
material for study, and the
exhibits should be added
enrichments, and should
by treatment fall into the
general scheme The spec-
tator on entering was to be
struck by the fact that here
was something novel and
complete in its general
ensemble, and was to be
insensibly led on to examine
in detail the work of its
parts and the matter ex-
posed for exhibition. And
as the photographs cannot
give the colour scheme,
here is an indication of it.
The section consists of three
94
WRITING DESK B¥ CHARLES R. MACKINTOSH
SILVER PANEL IN CENTRE AND COLOURED GESSO PANEL IN DOORS BY MARGARET
M. MACKINTOSH
(By her mission of Fritz Wdrnaorfei, Esq.)
looks into rooms whose
simple tones and har-
monies afford a welcome
relief to an eye tired
with the glare of an
Italian sun.
Rarely has such un-
promising material been
more happily or success-
fully dealt with, and it
is not a matter of wonder
that the section is receiv-
ing much interested at-
tention, nor that the
verdict passed upon the
rooms leading the one into the other, and lighted
entirely from the sides by large windows, whose
sills are eight feet from the ground. This gives an
unbroken wall space for hanging. The first room
is white, silver, and rose ; the second toned white
and grey gold, enlivened on one wall by a frieze of
pink and green ; while the other and largest room
is golden purple and white. All wall spaces above
the window-sill line, and all ceilings, have been
whitewashed and the woodwork throughout painted
white. A feeling of quiet repose, of coolness and
of freshness, pervades the rooms ; and in the work
there is a reserve which recalls the temperament of
the nation to which the architect belongs. A
happy feature is the treatment of the electric
LEADED GLASS WINDOW
BY C. R. MACKINTOSH
work is one that adds
solidly to the already
rapidly-growing reputation
of Mr. Mackintosh. The
photographs which accom-
pany this article explain
the treatment adopted, but
something remains to be
said as to ends and aims.
From the first, the archi-
tect decided that the rooms
without any exhibits should
be in themselves and for
themselves matter for ex-
hibition. Containing no-
thing, they yet should be
material for study, and the
exhibits should be added
enrichments, and should
by treatment fall into the
general scheme The spec-
tator on entering was to be
struck by the fact that here
was something novel and
complete in its general
ensemble, and was to be
insensibly led on to examine
in detail the work of its
parts and the matter ex-
posed for exhibition. And
as the photographs cannot
give the colour scheme,
here is an indication of it.
The section consists of three
94
WRITING DESK B¥ CHARLES R. MACKINTOSH
SILVER PANEL IN CENTRE AND COLOURED GESSO PANEL IN DOORS BY MARGARET
M. MACKINTOSH
(By her mission of Fritz Wdrnaorfei, Esq.)