leaves in brownish and purple hues (ill. 11) or in green, red and yellow (ill. 8); and red 
fruits stand against the green of the leaf and the blue of the background (ill. 10). 
Although they differ in material, the woven bouquets of flowers (ill. 13) are comparable 
in their blue, gray, yellow color scheme to the yellow, golden, sometimes greenish 
lustred flowers of the ceramic vases (ill. 14) with surfaces marbled in shades of yellow 
and blue. 
The partnership of green and blue, colors that stand for the growth of plants and the 
coolness of water, is sometimes combined with the fire of reddish gold colors. Kolo 
Moser’s “Grasses” (ill. 15) in a strict linear abstraction, corresponds in its red-yellow 
color scheme with a field of red blossoms against a yellow background (ill. 16), al 
though the vase itself is dominated by the blue of the walls and the handles. Color con- 
trasts are provided by irregulär red spots and parallel gold lines. Brightly colored flow 
ers and fruit, usually on a monochrome glazed wall, characterize the cheerful colorful- 
ness of Frainersdorfer ceramics (ill. 17-20). Areas left free of the two stepped build up 
of the walls in purple ceramic glaze are filled in with an abundance of blue and yellow 
blossoms (ill. 21). 
Purple overlay (ill. 22) with delicate raised gold lifts the etched flower from its mat satin 
background. The asymmetrical curve of the vase in shades of purple and green deve- 
lops into the floral crown in lightly reflecting gold (ill. 23). 
Cut deep into the massive substance of the walls and scooping into the Sharp lines of 
the edges, plants with large blossoms on delicate stems grow out of crystal glass 
which is colorless turning to purple (ill. 24, 25, 27). Floral painting in purple with gold 
dotted areas, green leaves and delicate golden tendrils is made bolder by the gilt 
edged, opaque porcelain-white of the plate (ill. 26), while the blossoms cut into glass 
(ill. 27) in the purple light over clear crystal appear to hover. 
The three dimensional movement of the inward and outward curving walls of an almost 
spherical vase (ill. 28) is in keeping with the form of its mouth, pushed in at three 
places, and its decoration formed by a slightly wavy motion of curved lines and stylized 
leaves in silvery, greenish-purple iridescence on an almost salmon colored ground. 
This color mood is also found on a different vase in paler shades (ill. 29): the silvery leaf 
(or feather) motif, pulled high and slightly to the left on a ground of shimmering gold 
carried on nuances of pale salmon pink, constantly changing in the shifting light. 
The color scheme of pink going to dark purple, combined with gold (ill. 31) and iri 
descence (ill. 34) is achieved in ceramics by painting (ill. 31), in glass by cutting, reduc- 
tion, etching and iridescing (ill. 34). Yellow-purple dominates two additional tiles (ill. 30, 
33) while the strict composition of five flowers (ill. 32) is dominated by the red of the 
blossoms. 
The repetition of color in the fabric, “Feuerlilie” (ill. 35), and a cut, painted and partly 
gilded glass (ill. 36) is quite apparent despite the difference in materials. 
Whereas a subtly differentiated example of glass cutting decorates the optically blown 
bowl of thick walled, colorless crystal glass with yellowish-green overlay (ill. 37), the 
even green of the goblet is combined with gilded cut work (ill. 38). In contrast to the 
smooth walls of this glass, the gilded floral decoration of two vases (ill. 39, 40), single 
rose blossoms or the “treelet pattem”, Stands on green shaded ice etching. 
The gold of the reflections from the wavy patterned walls with a many-fingered spray of 
leaves (ill. 41) and of the woven “shower of blossoms” in yellow and linden green on a 
linear grid of waves (ill. 42) deepens to a gold-bronze in the ceramic vase (ill. 43) with a 
curved green line and red heart-shaped leaf typical of Art Nouveau, like the curve of a 
whiplash captured in relief. The golden colored glass vase with a delicate blue shimmer 
is entwined by a snake (ill. 44). Golden laurel gives structure to the facade of the Otto 
Wagner House (ill. 45) in vertically ascending branches and horizontal fields of orna- 
mentation while gilt leaf formations decorate a book binding with zig-zag Strips marked 
off into triangulär and diamond-shaped areas (ill. 46). 
In the predominantly brown ceramics of northern Bohemia (ill. 47, 48) the metal mount- 
ing fits in well with the partially green glaze. The repetition of the identical color 
scheme in two designs by Kolo Moser (ill. 49, 50) and a Zsolnay vase (ill. 51) is as- 
tounding: Ornaments in green and red on a pale, yellowish ground. 
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