DOI Heft:
Nr. 149 (August 1905)
DOI Artikel:Covey, Arthur Sinclair: The Venice Exhibition, [2]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20712#0238
The Venice Exhibition
unbroken save for the groups of brass knobs at
regular intervals. It is rather difficult to say what
is the meaning of all this brass. It is scarcely of
sufficient importance to be called a frieze, but the
effect of the long parallel lines is quite in harmony
with the other features of the room. Below the
dado is an unbroken band of mahogany red, made
up of strips of wood woven into a sort of basketry.
This band is perhaps the most disturbing element
in the scheme of the room, when one considers
that the purpose of the room is to show pictures.
Had this space been of a more subdued colour
it would have no doubt served its purpose well
as forming part of the general scheme; but, with
a broad band of strong red running around imme-
diately under the pictures, the result is that the
works are a secondary feature. That the delicate
tones suffer considerably can easily be imagined by
the reader.
The carpet and hangings are highly pleasing in
design—the carpet a plain simple grey, with a
border of blue squares in fine harmony with the
very distinct scheme of the room, and the
hangings of warm grey plush, with a border of
black stripes, the effect of which is as dignified
as possible.
The wall space in the small room is of old rose,
forming a fine background for the pictures shown.
The great number of small pieces of bronze
statuary seen here, for which the Germans seem to
have a particular fondness just now, are disposed
of very successfully. They have used the rows of
pedestals leading up to the large entrance as a part
of the design of the room. The pieces could
scarcely be shown to better advantage, and with
the careful designing of the pedestals they have
made them quite an interesting feature.
The character of the room as a whole is dis-
tinctly German. Professor Seidl has quite departed
from that expression of the “l’Art Nouveau” which
was so popular in Germany a few years ago. In
fact, the Germans have now quite freed themselves
of it ; although one still sees many buildings in
Germany, the result of this period, which almost
raise a question in one’s mind as to whether the
buildings are swinging in mid air or poised for a
moment on their foundations.
At any rate, in the character of their design they
220
PIEDMONT ROOM, VENICE EXHIBITION
unbroken save for the groups of brass knobs at
regular intervals. It is rather difficult to say what
is the meaning of all this brass. It is scarcely of
sufficient importance to be called a frieze, but the
effect of the long parallel lines is quite in harmony
with the other features of the room. Below the
dado is an unbroken band of mahogany red, made
up of strips of wood woven into a sort of basketry.
This band is perhaps the most disturbing element
in the scheme of the room, when one considers
that the purpose of the room is to show pictures.
Had this space been of a more subdued colour
it would have no doubt served its purpose well
as forming part of the general scheme; but, with
a broad band of strong red running around imme-
diately under the pictures, the result is that the
works are a secondary feature. That the delicate
tones suffer considerably can easily be imagined by
the reader.
The carpet and hangings are highly pleasing in
design—the carpet a plain simple grey, with a
border of blue squares in fine harmony with the
very distinct scheme of the room, and the
hangings of warm grey plush, with a border of
black stripes, the effect of which is as dignified
as possible.
The wall space in the small room is of old rose,
forming a fine background for the pictures shown.
The great number of small pieces of bronze
statuary seen here, for which the Germans seem to
have a particular fondness just now, are disposed
of very successfully. They have used the rows of
pedestals leading up to the large entrance as a part
of the design of the room. The pieces could
scarcely be shown to better advantage, and with
the careful designing of the pedestals they have
made them quite an interesting feature.
The character of the room as a whole is dis-
tinctly German. Professor Seidl has quite departed
from that expression of the “l’Art Nouveau” which
was so popular in Germany a few years ago. In
fact, the Germans have now quite freed themselves
of it ; although one still sees many buildings in
Germany, the result of this period, which almost
raise a question in one’s mind as to whether the
buildings are swinging in mid air or poised for a
moment on their foundations.
At any rate, in the character of their design they
220
PIEDMONT ROOM, VENICE EXHIBITION