GERMAN Y. 
49 
enshrincd in leafage and arabesque; here, where Kanlbach, the 
master humorist, has been active for decades, and where one troop 
of mirthful disciples of art is relieved by the other, all of them 
finding in the “Fliegende Blätter” 1 a classical diary for their 
never-failing wit and their genuine German poetical feeling, — here 
a reflection of this art-life upon industry must necessarily take 
place, so much the more so, as many of the most prominent 
artists have made industry the sphere of their principal activity in 
the latei; years of their lives. 
The central point of this development is formed by the “ Art- 
Industrial Association” of Munich, by wliom the “Journal for 
Art-Industry ” has been published since 1851, many volumes of 
which were exhibited as an evidence of the exertions of the associa- 
tion. Besides these, there were exhibited a large number of draw- 
ings emanating from the studio of the association, and further 
illustrating the “Munich style” in the various branches of art- 
industry. 
In the fountain before the City Hall this merry combination of 
figures and architecture has even ventured to enter upon the 
domain of monumental art. In the Exhibition it was to be met 
with only in its most wanton mood in diverse vessels, Utensils, &c. 
The Ornament is continually dissolving into human or animal 
forms ; the most curious things are built up with picturesque Clev 
erness, without giving off'ence. Thus the claw of a grilfin grows 
out into a stag’s head, the antlers of which Support a drinking- 
horn; a harlequin is practicing gymnastics on a mug, and in bis 
accidental position forms its handle; gnomes and nixes desport 
themselves in every corner; the eye is amused by them, and ex- 
cuses the frivolous play with sesthetics on account of the skill and 
the humor with which these things are made. 
The Exhibition sliowed that the style which is cultivated at the 
Royal Art-Industrial School of Munich tends more especially 
towards the Renaissance, although older classical motives are also 
employed. The drawings consisted mostly of designs for decora- 
tions, which, indeed, appear to be the principal ahn of the school. 
A zealous study of plant-forms imparts life to the motives, and 
1 “Fliegende Blätter” (Flying Leaves), a humorous weekly joumal, piib- 
lished at Munich, now in its sixty-second volume. — Transl. 
4