International studio — 22.1904

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production of applied art is concerned. Its old stand-
ing had been completely lost; and people, looking
for new original work, turned their eyes towards
Munich, Darmstadt and Stuttgart, or Vienna. Mr.
Schmidt has the sole management. He is an artisan
himself, and was filled with a strong love for the good
old days of true handicraft. It was not, primarily,
that he had any new style of furnishing in view;
what he wished to see was that the customary
machine furniture should
yield its place in the
favour of the purchaser to
the production of the hand.
The former was utterly
lifeless, and the mere me-
chanism of the machinery
has caused changes of
form and construction
totally adverse to the
real purpose of the object
constructed. For ex-
ample, machinery has not
constructed chairs as chairs
should be constructed;
but the principles of
constructing chairs have
been changed in order to
fall in with those of
machinery. Besides this,
Mr. Schmidt also knew
that when once handicraft
came to its right position

again, a new style must
result, for no man can
construct anything by hand
without in the long run
putting some of his soul
into it.
He started a little es-
tablishment in 1899, with
three workmen, and they
produced small household
articles. It was a risky
venture, for of course as'
to prices he could not
compete with the machine-
made products of the ware-
houses. He has recently
opened an exhibition of
over thirty fully-furnished
rooms from designs by
the artists, Baillie Scott,
Behrens, Von Geldern
Egmont, Hempel, Krause,
Mackintosh, Meinhold, Nicolai, Riemerschmied,
Roessler, Schaudt, Thiele, Walther, &c. From
this it appears that he has won the day, which is
proved further by the circumstance that his
establishment occupies a whole building now, and
employs a hundred workers, while it has been
entrusted with the design and construction of the
representative Hall of the Saxon Government at
the St. Louis Exhibition.


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