A substantial if confusing pictorial record exists of the stay of Lou and her entourage at Wolfratshausen, outside Munich. A wellknown photograph of her first summer rental, the “Lutzhaus” or also, more splendidly, the “Lutzvilla” (called after its owner, Herr Lutz), shows, from left to right, in a gazebo, a dowdy Frieda von Bülow, Lou's friend, holding Lou's dog; Rilke, neatly clad and unmustached; August Endell, the Munich interior decorator and architect, panama-hatted; Lou herself, on whom Rilke's gaze is fixed, girlish in her loose hair and sleeves, leaning over a railing; and, standing close beside her, a Russian visitor, “Akim Volynski.” Since Volynski was in Wolfratshausen from 14 June to 16 July, the picture stems from that time slot. A companion image was made indoors: Endell, boater in his lap, someone called “a Russian man-ofletters” (that is, Volynski) by Ingeborg Schnack, a hunched von Bülow, and Rilke, gazing down at Lou, who (surprisingly) is concealed by a plant. The shot, taken by “Puck,” Sophie Goudstikker, Mathilde's sister, must be from the same day as the arbor scene (see Endell's hat, Volynski's book and staff, von Bülow's unflattering toque, and Rilke's natty outfit). Showers have driven the group indoors; they look not a little dispirited, no doubt because of the rain Rilke complained about in “Der Regen greift mit seinen kühlen / Fingern uns die Fenster blind” (SW 3:178–79; The rain, grasping with its cool / fingers, blinds the windows for us).