architects in France, who prior to the 1910 Salon d'Automne had been lagging behind in the design sector. It also catalyzed public opinion, formerly interested solely in paintings. The fact that the viewers saw first hand, and many for the first time, what had been done abroad, opened up a potential of what could be done in the field of decorative arts at home. Jourdain had successfully staged the German show to provoke French designers into improving the quality of their own work. The effects would be felt in Paris, first with the 1912 exhibition of French decorative arts at the Pavillon de Marsan, then again at the Salon d'Automne of 1912, with La Maison Cubiste, the collaborative effort of the designer André Mare, Raymond Duchamp-Villon and other artists associated with the Section d'Or. Henri Matisse exhibited La Danse at the Salon d'Automne of 1910. 1911, the rise of Cubism In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Metzinger (Le goûter (Tea Time)), Henri Le Fauconnier, Fernand Léger, Albert Gleizes, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Alexander Archipenko, Joseph Csaky and Francis Picabia. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants. In room 41 hung the work of Gleizes, Metzinger, Léger, Delaunay, Le Fauconnier and Archipenko. Articles in the press could be found in Gil Blas, Comoedia, Excelsior, Action, L'Œuvre, Cri de Paris. Apollinaire wrote a long review in the April 20, 1911 issue of L'Intransigeant. Thus Cubism spread into the literary world of writers, poets, critics, and art historians. Apollinaire took Picasso to the opening of the Salon d'Automne in 1911 to see the cubist works in Room 7 and 8. Albert Gleizes writes of the Salon d'Automne of 1911: "With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants." He writes: "The painters were the first to be surprised by the storms they had let loose without intending to, merely because they had hung on the wooden bars that run along the walls of the Cours-la-Reine, certain paintings that had been