48

ART  ED  V  CAT  ION.

indeed,  and  it  is  certainly  to  be  hoped,  that  tho  Institution  permitted
the  expenditure  of  so  muck  time  only  upon  tlie  specimens  intended
for  the  Exhibition,  although  this  would  again  show  that  tlie  aim  of
the  Exhibition  had  been  misapprehended  ;  for  one  of  the  main  levers
of  progress  is  to  be  found  in  the  comparison  of  the  various  methods
of  exeeution  now  in  use.  The  crayon-studies  of  heads  from
nature  (executed  on  white  paper)  gave  evidence  of  a  more  profound
  and  more  individual  conception  than  tlie  studies  in  plaster.
The  academical  drawings  in  crayon  and  charcoal  likewise  manifested
  throroughness  of  study  ;  but  it  must  be  said  that  names
were  to  be  found  among  them  to  whom  the  master’s  diploma  in
art  was  awarded  long  ago.  The  oil-studies  looked  as  though
they  were  all  the  work  of  one  hand  ;  whether  this  be  an  advantage
or  a  disadvantage  of  the  school,  we  cannot  at  present  investigate.

The  efforts  of  instruction  in  drawing  in  all  the  German  Art-Schools
  are  principally  devoted  to  the  thorough  comprehension  of
form,  and  by  far  too  little  stress  is  laid  upon  picturesque  illusion,
i.e.,  the  variety  in  the  shading,  which,  after  all,  is  of  importance.
The  drawings  from  casts,  with  their  glaring  lights  and  shades,
mostly  look  as  if  they  had  been  made  from  bronze  models  ;  a  more
graceful,  easier  exeeution  is  greatly  to  be  desired.  It  is  curious
that  red  ckalk,  which  is  so  telling,  is  everywhere  rejected  as  a
drawing  material.
The  ever-growing  collections  of  the  Art-Industrial  Museum  at
Nuremberg,  which  again  received  important  accessions  from  the
Vienna  World’s  Fair,  will  undoubtedly  by  degrees  bring  industrial ­
  education  into  closer  communion  with  the  tendencies  of  our
time  ;  and  this  can  only  be  of  advantage  to  the  Industries  of  the
.Nuremberg  district.
Art-industry  in  Munich,  the  same  as  in  Nuremberg,  likewise
bears  a  specifically  local  character.  Here,  in  consequence  of  a
richer  development  of  art  in  general,  peculiarly  pleasing  motives
of  a  romantic  tendency  have  been  intermixed  with  the  German  elements,
  and  have  been  introduced  into  all  branches  of  art-industry
with  peculiar  skill.  Here,  where  Schwind,  the  “  father  of  the
lairy  tale  ”  in  art,  called  forth  from  the  interior  of  mountains,
from  rocky  castles,  and  the  darkness  of  the  forest,  his  magic  figures