FRANCE. 
91 
Of Ornaments the “ Cours d’Ornement,” by Lievre (Goupil, 
18G8) must be placecl at tlie head of the list, as being superior in 
its choice of motives. The objects — original models in all 
styles — are represented in a manner easily comprehended, on 
paper of a light-gray tint, in crayon underlaid with the stnmp. 
With examples of this kind, it is indeed easy to teach the 
gtyles in the drawing-classes. A similar work, but one tvliich cm- 
braces the history of art still more fully, is that of Camille Chazal 
(Hachette). The first plates represent Egypt in figure, Orna 
ment, and architecture; the Orient follows in a similar manner, 
then tlic elassics of antiquity, and so on down to the Renaissance. 
In the last part, on French art, the object of the plates, to serve 
as drawing-copies, has unfortunately been lost siglit of somewhat; 
the smaller gfenre-pieces might have boen left away quite as well. 
The work compiled by the meritorious Frere M. Vietoris, “ En- 
seignement Populaire du Dessin d’Ornement,” intended for ^ele 
mentar}- instruction in ornament-drawing, is carried out in a 
similar spirit. The motives are given in outline with geometrieal 
lines, lightly shaded, and in historical Order. This work has been 
introduced into most of the primary schools which arc under the 
care of the “ Congregation of the Brethren of Schools ; ’ farther 
on, we shall have to speak of its successful employment in in 
struction. In the same schools, the “ Cours d’Ornement, by the 
Frere Athanase, conspicuous for its easy, elegant exeeution, is 
likewise frequently in use. The forms begin at once upon the first 
plates with palmettos, spiral lines, &c., and advance to motives 
of moderate difliculty, which are culled from the classical monu- 
ments of the Renaissance, of the Greeks, Romans, and Etruscans, 
and of the Gothic style. They are executed in one crayon on 
paper of a light tint. 
Serics of copies for the first stage of instruction have been pro- 
duced in Paris in large masses of late years ; and, on the whole, 
it may be remarked, that the principal aim lield in view, even at 
the verv beginning of instruction, is an artistic and free manner 
of expression. The question here is not—and this is the essential 
diference between French and Germans — the exposition of the 
form its cjeometrical construction. The straight line is quickly 
done away with, or is simply omitted ; and all efforts arc at once