rceptible number exhibiting side by
side with men, holding their own fairly well in decorative
painting, as designers of rooms, of carpets and wall coverings,
workers in iron and other metals, while in tapestry, weaving
embroidery, and lace work their advance is nothing short of
astonishing.

Wherever in the Varied Industries Building, in the German House,
in the Austrian Pavilion, and elsewhere the work of German women
was incorporated into the general scheme of the decorations and
furnishings, wherever women, together with men, designed and
planned, or wherever they carried out the designs of men,
harmony was the result. Women's work was found to blend
perfectly with men's when both worked on a common plan to a
common end. Of course women in German art, as elsewhere, are
numerically immensely in the minority, nor do they as yet often
attempt the grand, the monumental, the complex. But many of them
are honest and efficient helpers, whose eyes and hands show
excellent training. They are, besides, enthusiastic supporters
and intelligent abettors of the new movement which aims to
achieve homogeneousness in the arts of living.

Again and again in the German exhibits one was constrained to
note that the female members of an artist's family were
frequently represented by work of their own. One encountered
Bruno and Fra Wille, joint designers of rooms, carpets, wall
coverings; Professor Behrens's wife plans a variety of things
from costumes to book covering. There are feminine Hubers,
Spindlers, Laengers in the catalogue, showing that the Germans
who have been so long reckoned as addicted to the cult of the
"Hausfrau" only, are beginning to accord the woman artist due
recognition.

It was all the more amazing to find that Germany, the very
Germany who, by general verdict, had given the most complete
exhibit of household art ever shown at any exposition, who, as I
have just pointed out had brought forward its craftswomen in no
contemptible role, should all unconsciously furnish the
striking, the classical example of the folly of separating the
sexes at an exposition. The "Verein Berliner Kunstlevinnen" made
an exhibit of exclusively feminine work, which was as pointedly
painful, as conspicuously lacking in force and originality, as
confused as to arrangement as have be