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 inter- 
esting 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 world- 
renowned 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 dis- 
seminated, 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 (Wiesba 
den, 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.