ABSTRACT

Paralleling what pertained in Baroque times, Vienna lacks prominent, civic screens from the mid-nineteenth century. Regardless of where the didactic sequence determined the Pinakothek's actual main entry to be, customary approach to the building would increasingly occur from that southern orientation, addressing the mass's long, iterative, loggia covered side. Two small yet sophisticated examples are found in provincial Barmen-Elberfeld – cities now incorporated as greater Wuppertal. This area's history could not be more different than Berlin or Munich. Standing near the Low Countries on Germany's western edge, the Wuppertal region by the nineteenth century was already a manufacturing hub. Fostering mature show the screen transcending distinctions often historically encountered in Germany such as Prussian versus Bavarian, Protestant versus Catholic, or aristocratic versus industrialized. As with Berlin's Unter den Linden, the Bavarian capital's nineteenth century development occurred along wide avenues struck through, and extending outward from, the historic kernel.