Siegfried Kracauer, the trained architect turned cultural critic, once quipped that popular industrial exhibitions in the early twentieth-century not only disseminated new technologies and notions of progress, but they also seduced the public with “peep-box pictures (Guckkastenbilder)” promising “new worlds.” Some of the worlds German spectators in the Golden Twenties peeped in on at such exhibitions were elaborate film sets with, quite literally, framed interiors and exteriors. In 1922, the director of the Munich Theater Museum Franz Rapp organized a special exhibition on contemporary German set design for the national craft and industry fair. Two halls branching off from the main exhibit were sponsored by major players in the film industry. Here, spectators could gawk at serpentine scene sketches and stills from canonical Expressionist films. Ernst Lubitsch's exuberant epics, period pieces, and parodies Deception (Anna Boleyn, 1920), One Arabian Night (Sumurun, 1920), The Mountain Cat (Die Bergkatze, 1921), and The Loves of Pharaoh (Das Weib des Pharao, 1922) were also richly represented. In particular, the work of the director's principal art designers Kurt Richter and Ernst Stern was prominently displayed—including Richter's 6. by 8 foot miniature model set of the medieval Spanish city of Toledo for his unfinished project Carnival in Toledo, and production shots of the ancient Egyptian city Richter and Stern erected in the sand hills of Berlin-Steglitz for Lubitsch's lavish spectacle, The Loves of Pharaoh.