GERM AN Y. 
65 
for drawing in the People’s Schools, it is absolutely wrong to intro- 
duce pictures of landscapes, animals, and flgures into elementary 
instruction, as in the case of the copies by Domschke. Bat the 
method of Dupuis, on the otlier hand, b3’ which the empirical 
practice of perspective is aimed at, in Connection with freehand 
drawing from surfaces and from solid models, is quite as hazard- 
ous. This would demand a maturity of intellect not to be expected 
of the pupils of the People’s Schools. At the same time, if the 
method is to be carried out with any success at all, eacli dass 
must contain as small a number of pupils as possible; but it is 
well known that this must for the present remain a devout wish on 
the part of the teachers. 
The results shown at the exhibition just spoken of were conse- 
quently quite desultory, and made it clear that even some of the 
teachers were wanting in the neccssary knowledge of perspective, 
which, of course, proved fatal to the success of the method from 
the outset. Many of the schools therefore left the course of 
instruction which had been prescribed to them, and devoted them- 
selves to “ picture-making,” which at least does not destroy the 
interest of the pupils in the subject, although nothing positive is 
to be learned by it. 
The numerous drawing-copies for the first stages of instruction, 
which had been sent to the World’s Fair from Berlin, made it evi 
dent, however, that this evil of conflicting methods will gradually be 
obviated. Among these examples, the “Wall-Charts for Method- 
ical drawing,” by Herzer, Jonas, and Wendler, published by the 
society in question, are well worthy of recommendation as practical 
aids for teaching. Being simple in tlieir forms, they are easy 
of comprehension. Ed. Eichen’s “Wall-Charts for Elementary 
Instruction in Drawing” likewise follow the correct method, as a 
preparation for modelling, although the admissibility of natural 
flowers may perhaps be questionable. On the other hand, how- 
ever, the author is to be praised for the emphasis with which he 
dwells, in the explanations, upon the necessity of making the 
Scholar draw the flgures as large as possible, and of compelling 
him to nse charcoal for bis first sketch. 
At the exhibition in Berlin (1870), before alluded to, the draw- 
ings for a “ Graded Series for Elementary Instruction,” by Zim-