The 'Turin Exposition 
and made by the firm of Foerenade and 
Gamla Santessonska Tenngjuteriet, of Stock¬ 
holm, showed great beauty of design and 
fine workmanship on the part of that metal¬ 
working establishment. 
The German exhibit at Turin was one of 
the largest and most complete of any nation, 
and deserves more space and attention than 
can be given in this brief article. The first 
thing that struck the visitor was the spirit of 
thoroughness and completeness in every detail 
shown, even in the arrangement of that portion 
of the main building which was set apart for 
Germany. The illustration gives an excellent 
by a low cupboard could be utilized, and also 
the beauty of inexpensive wood, not painted, 
but simply filled and showing the grain. 
Of the furniture exhibit in every department 
of the exhibition it can only be said that, to the 
writer, it was the least attractive of any, and 
made one feel that there has been no marked 
improvement over what have come to be known 
as the old styles with which we are so familiar. 
Squareness of form and a certain awkwardness 
were the general characteristics, though there 
were, of course, many exceptions. The double 
bed in the illustration will give an idea of what 
is meant, and is a good example of a piece of 
A DOUBLE BED EXECUTED AT BING’s “ ifART NOUVEAU,” PARIS 
idea of the picturesque west faqade of the Ger¬ 
man portion which, with its covering of gray 
stucco and conventional decorations in colors, 
and, above all, the plants in the space outside 
the windows, made one think that a German 
country house had been transported bodily to 
the Valentino Park. The part of the building 
devoted to Germany was put in charge of Herr 
H. E. von Berlepsch-Valendas, and the residt 
was most pleasing in every particular. The 
corner of a dining-room in a country house, 
illustrated on page 98, was designed by him, 
and gives an idea of how the space occupied 
furniture that is practical, but unwieldy and 
too large for the average room. 
The Scottish section was a genuine sur¬ 
prise, for we hear so much of English art 
that the northern half of the island of Great 
Britain has been decidedly overlooked by 
the general public. Even the first glance 
showed that Scotland has the true artistic 
spirit, though naturally it takes form chiefly 
in her large cities, notably Glasgow. Like 
the German section, the space devoted to 
Scotland was made a beautiful setting for 
beautiful things, and was done under the 
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