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History of Art. BERLIN.
51
baroque style associated with the name of Schliiter became ulti¬
mately the dominating feature in domestic architecture. The
Building of the Imperal Diet (p. 136), by Wallot, marks a distinct
advance in the standard of architectural forms. The Italian baroque
style applied in the Cathedral (p. 63) makes a somewhat foreign im¬
pression. On the other hand mediaeval styles of architecture have
been most in vogue for the numerous churches built since 1890,
especially the Romanesque style, which is well illustrated in the
Emperor William Memorial Church (p. 180). More important than
these examples of varying fashion in architecture are the creations
produced by the specific demands of modern times, such as the rail¬
way stations with their enormous departure-halls (nearly all entirely
rebuilt since 1870), the hospitals built on the pavilion system, and
especially the palatial business offices and warehouses. This last
type of building, which has already changed the appearance of whole
streets, was initiated by Kayser & von Groszheim in the Rosen-
Strasse (p. 154), and carried to its height by Messel in Wertheim's
Emporium (p. 125). Suburban villas show a leaning towards forms
borrowed from England and the North of Europe. The Ministerial
Offices (pp. 123-24), the Chamber of Deputies (p. 135), the Royal
Stables (p. 70), the Emperor Frederick Museum (p. 96), and other
palatial edifices usually follow the beaten track. Ludwig Hoff¬
mann, the designer of the High Court of Justice at Leipzig, who
has held the post of city-architect since 1896, has adopted a happy
compromise, typically exemplified in the schools, hospitals, munici¬
pal offices, and baths built under his supervision. Lucae, Adder,
Ende, Gropius, Raschdorff, Grisebach, and Ihne may also be
mentioned among the creators of the most successful buildings of
recent date. — In sculpture Siemering and Schaper adhered to the
noble repose of the school of Rauch, while Reinhold Begas ex¬
hibits a pictorial style, with motives bordering on the baroque. The
wholesale production of monumental statuary has rather expand¬
ed the field of sculpture than added to its intrinsic merit. Among
the many younger masters may be mentioned Tuaillon, Lederer,
Eberlein, Herter, Briltt, Manzel, Lessiug, and Uplines. — In
painting the movement towards monumental art expected after the
summoning of A. von Werner to Berlin in 1871 did not take place.
Geselschap's paintings in the cupola of the Arsenal found no imita¬
tors. Of the members of the Society of Berlin Artists we may
mention the painters L. Knaus, Paul Meyerheim, F. Skarbiua,
H. Herrmann, Hertel, Kallmorgen, A. Kampf, and the gifted
portrait-painter Hugo Vogel. Max Liebermann started the 'Se¬
cession' , an 'impressionist' movement emanating from the Munich
society of that name, and has been followed by Leistikow, Slevogt,
L. Corinth, the sculptors Klimsch and Gaul, and many others
among the younger artists.
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