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  association.
  Besides  these,  there  were  exhibited  a  large  number  of  drawings
  emanating  from  the  studio  of  the  association,  and  further
illustrating  the  “Munich  style”  in  the  various  branches  of  artindustry.

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  Cleverness, ­
  without  giving  off'ence.  Thus  the  claw  of  a  grilfin  grows
out  into  a  stag’s  head,  the  antlers  of  which  Support  a  drinkinghorn;
  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  excuses
  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  decorations,
  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,  piiblished
  at  Munich,  now  in  its  sixty-second  volume.  —  Transl.
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