Abstract
This aritcle examines a contribution made by a new trend in domestic interior design that emerged in the Munich art world of the 1870s. It claims that, more generally, interior design had, first of all, to formulate itself, by uniting the concerns of the diverse trades of interior decoration, by stressing the agency of the designing artist and by foregrounding aims concerning the user comfort and domesticity. For the architect-designer Gabriel von Seidl and the writer Georg Hirth, the chief design formula was the colour and textural effect of large surfaces of spruce. Furthermore, in true revivalist fashion, the new movement attempted strong geographical and historical identifications by conjuring up a vernacularized old German, Bavarian or Alpine world.
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