International studio (36.1908/1909(1909))

of the jury being that they had to take into ac-
count considerations which couid not be evaded.
In the totality of the dispiay, however, the exhibition
discloses a good average of achievement, and not-
withstanding a certain monotony in the forms of
expression, it is both abundant and varied. And
if there is comparativeiy iittie that stands out above
the general ievel, it may be said on the other hand
that what there is of a commonplace character is of
too smah momtnt to affect the merit of the mass.
The chief interest of the exhibition centres in
the series of fuily-equipped interiors, more than a
hundred in number, comprising every apartment
of a dweHing house. For these HaH No. t was
reserved, and access to this is obtained through a
hall of honour designed by Richard Berndl, a
domed structure of impressive proportions, con-
taining four huge antique hgures in niches, the
work of Kari Ebbinghaus. The adjacent prome-
nade, decorated with bright-coloured waH pictures
by G. Kiemm, which have been executed in a
manner that shows little regard for the close
proximity of the observer, leads to the space htted
up as a museum for a small town, and to a

picture-gaHery and scuipture-room, wherein are
exhibited exceltent works by Munich artists, and
to severai haHs in which the local antique dealers
display their treasures. There is a certain essential
kinship between these and the interiors which have
been equipped by a group of Munich hrms under
the artistic direction of Prof. Gabriel von Seid],
representative of the "Old Munich" mode, and
avowedly designed as an antithesis to the modern
type. Their chief interior is a large hall which
in its general design betrays the master-hand of
the architect, though in detail there is less evidence
of his influence, and consequently one misses that
uniformity and completeness of effect which might
make the modern eye appreciate more fully this
reminiscence of the olden time.
Seidl's art is again seen to advantage in a
white room, designed by him as a lady's boudoir,
on the chimney wall of which is a medallion
portrait by Franz von Stuck of his wife; but for
the furniture of this room, which consists of quite
feeble imitations of Louis XVI. models, Seidl must
not be held responsible. The same thing holds
with regard to a music-room belonging to this


KtTCHEN

DEStGNED EY ARCHtTECT OTTO BAUER
ARRANGED BY MARTtN PAUSON, MUNfCH