GERUANY.

71

monuments.  The  publication  of  these  drawings  commenced  in
1872.  Besides  being  well-chosen  and  neatly  executed,  they  offer
an  advantage  in  this,  that  they  are  all  drawn  to  the  same  scale,
which  facilitates  comparative  study  very  materially.  This  interesting
  work,  of  which  four  parts  have  already  appeared,  began  with
antique,  ancient  Christian,  and  Romanesque  architecture,  and
will  embrace  the  works  of  the  Gothic  style  and  of  the  Renaissance,
down  to  modern  times.  Incidentally  it  may  be  remarked,  that  the
price  of  twenty-fiye  silver  groschens,  for  each  part,  is  amazingly
cheap.
The  influence  of  Schinkel  made  itself  feit  to  such  a  degree,
more  especially  in  the  architectural  schools  of  Berlin,  that  his
spirit  still  animates  their  productions;  and,  if  his  Creative  power
has  not  been  inherited  by  his  scliool,  he  has  at  least  left  to  it
his  artistic  principles.  The  character  of  the  technical  tendencies
of  architecture  in  Berlin  was  shown  most  conspicuously  by  the
more  important  publications  in  this  department.  The  worldrenowned
  firm  of  Emst  &  Korn  truly  forms  the  central  point  for  the
whole  of  Germany,  for  publications  of  this  kind;  and  the  works
exhibited  by  it  occupied  nearly  a  whole  section  of  the  middle  tract
of  the  pavilion  of  Group  XXVI.  It  would  lead  too  far  were  it
attempted  here  to  review  all  the  later  issues.  These  works  are
well  known  to  specialists  everywhere,  and  a  simple  mention  of  the
praiseworthy  activitj’  of  the  firm  must  therefore  suffice.
Of  otlier  more  important  publications  concerned  with  drawing
and  art-education,  and  to  be  seen  at  the  Exhibition,  the  “  Wall-Charts
  of  Antique  Life  and  Art,”  by  Prof.  E.  v.  d.  Launitz,  must
be  placed  at  the  liead  of  the  list.  The  introduction  of  art-scientific
instruction  into  the  Middle  Schools  began  with  these  charts  ;  and
through  their  instrumentality  the  question  as  to  the  necessity  of
this  study  was  first  fairly  started.  The  work  has  been  widely  disseminated,
  and  does  not  need  any  further  recommendation.  The
“Ornaments  of  all  the  Classical  Epochs  of  Art,”  by  W.  Zahn
(1870),  are  very  beautifully  executed  in  color,  but  too  small  to  be
of  use  as  copies.  The  “  Ornamental  Copies,”  by  Bögler  (Wiesbaden, ­
  Roth)  are  distinguished  by  simplicity  and  perspicuity  of
form  ;  the  “  Ornaments,”  by  J.  A.  Müller,  issued  by  the  same
publisher,  also  deserve  to  be  mentioned.