THE INTERNATIONAL HANDICRAFT EXHIBITION IN BERLIN Deutsche Halle himself a manufacturer. He knows that his vocation is once again respected and befitting the age; his achievements as the mirror in which is reflected the stage of culture prevailing at the moment, are once again appreciated. The reason for this is that the same man performs both the brain work and the manual work connected with the process of making an object—in contrast to the mechanical method—and thus stamps it with the mark of his per- sonality. After this idea had received universal recogni- tion, it was no mere chance thatcaused the inauguration of an international handicraft exhibition, nor mere chance that gave it a place in the shadow of the Wireless Tower (Funkturm) in Berlin. For it is chiefly Germany who makes every effort to maintain and foster the ur- ban craftsman’s estate as the counterpart of the rural peasant estate. The Exhibition itself may be viewed from the most varied angles. If one chooses the cultural-historical point of view, there is opened-up a wonderful display with op- portunity for comparing Ger- manic and Celtic, Old Slav and Old Italian crafts- manship. Dark red Roman pottery is presented to the eye, as also products dating from Egyptian and Baby- lonian times. A working-day in a craftsman's life some 500 years ago is shown in pic- tures and the styles in vogue throughout the centuries are demonstrated in selected pieces. An up-to-date geo- graphical method of viewing the exhibits allows the visitor to form an opinion as to whether the various branches German hall 51