International studio (21.1903/1904(1904))

STAIRS AND LANDING IN THE VIENNA WORKMEN's HOME

HUBERT GESSNER, ARCHITECT

To return to the street-front, and glance at the
whole effect. A basement of 2^ metres in height
is buiit of red artihcial stone ; above, the wall is
rough cast, and, in the top storey, giazed tiles.
Flagstaffs adorn the cornice, and these are remark-
abie as being horizontal. They were to carry
hanging red flags, but, as these are forbidden by
the poiice, they Support signs of white ietters,—
" Arbeiterheim/'—and so cannot arouse the wrath
of those to whom the red bunting is an offence.
JOSEPH A. Lux.
STUDIO-TALK
fA7W77 CK?' J
L ONDON.—The winter exhibition season
has begun in London in a decidedly
promising fashion. ActuaHy the Rrst
^ show to open was that of Phil May's
" remaining drawings " at the Leicester Galleries,
but it was followed within a few days by exhibi-
tions of drawings by Charles Keene at the Dutch
Gallery, works by members of the Modern Sketch
Club at the Modern Gallery, and water-colours by
Mr. David Green at Graves's Gallery. The Phil

May collection is in many ways the most important
of them all. It makes a convincing assertion of
his powers, and shows certain phases of his capa-
city which have hitherto been almost unknown to
the general public. Many of the drawings in it
are the pen-and-ink Originals of the delightful
illustrations which have, during recent years, ap-
peared in the pages of and other periodicals;
but there are, besides, many things which will
seem much less familiär, even to comparatively
close students of Phil May's performances. For
instance, there is a considerable number of
examples of his work in colour, costume studies
in coloured chalks and water-colour sketches done
in Holland, all of which are distinguished by excep-
tional delicacy and breadth of handling, and by a
very personal freshness of style; and several
chalk and pencil drawings are included, in which
he has rendered with surprising subtlety effects of
light and shade. Evidently his masterly command
of line did not lead him to neglect other forms of
expression; he was not content to be a specialist
in one branch of practice, but aimed at and
reached, a high Standard of accomplishment in
various directions. Through all his productions,
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