FRANCE. 
89 
must of necessity go astray ; an Observation which was again con- 
firmed at Vienna by the specimens exhibited by tliose institutions 
in wliich the older publications of this author are still in use. 
Besides Julien’s copies, there were also eniployed simple Ornaments 
(of wliich those bj’ Bilordeaux were perhaps tlic inost elegant), and, 
above all, studies of flowers. Standard examples of tlie latter dass 
were produced quite early, and are still being produced ; for in 
tliem lies the most important element of industry. 
Now came tlie World’s Fairs, and competition demanded forms 
of greater precision in industry. But fliese could be introduced 
only by new means of art-instruction. 
The revolution that has been consummated in the department 
of art-instruction in France, within the last few years, is a most 
portentous sign of the gradual revolution of taste in French art- 
industry. Drawing-copies 110 longer spring into existence out of 
the imagination of individuals ; a stricter method is pursued in the 
selection of motives, and a return to the classics has taken place. 
The firm “ Julien” itself brought out “ Etudes d’apres 1’Antique ; ” 
but tliese unfortunately were again too bold, too broad in treat- 
ment, to be usefiil as Standards in the elementary stages of figure- 
drawing. In Ornament the Renaissance was at first gone back to ; 
but finally motives and forms from the whole ränge of art-history 
were presented in tlie copies, beginning with the Hindoos, Egyp- 
tians, &c., and reaching down to the latest Rococo. The imita- 
tion of the most varied styles in modern Frencli industry may have 
some connection with this fact. A number of prominent pub- 
lishers, such as Dclagrave, Delarue, Ducker, Monrocq Freres, 
Baudri, Morel, &c., have produced truly magnificent works of tliis 
kind. The return to classical examples, and more especially to 
the antique in figure-drawing, has continued to increase since the 
last Exhibition; and the government of France, even up to the 
present time, has given its Support to tliese efforts. To be sure, 
the fruits of this movement, generaliy speaking, are not visible as 
yet; but it must be acknowledged that energetic efforts are making 
everywhere to introduce purer elements into form. 
Of the latest publications to be seen at the Exhibition, men- 
tion must be made before all of F. Ravaisson’s “ Classiques de 
l’Art, Modelles pour 1’Enseignement du Dessin.” Most of the