FRANCE.
101
admirable model of the Lequien School was likewise to be seen.
It sliovved the grand drawing and modelling hall, which is used in
common, with all its arrangements, down to the smallest detail;
adjoining this on botli sides, the halls for scientific lectuies , tho
hall for the living model (human figure) ; the Collection of models;
the offlce, &c. This school received a premium at the last Paris
Exhibition, for its exceedingly practical arrangement; and in
Vienna it was likewise highly applauded by specialists.
In Lequien’s school, as well as in most of the municipal schools
of Paris, all branches of freehand and linear drawing are taught,
and its exhibition made an imposing impression by the artistic
perfection, as well as by the variety of its work. In the choice of
the motives of ornamentation in these higher schools, the traditional,
indeed, has not yet been fully done away with. 1 The
Rococo still disports itself in tolerably extravagant variations,.
and has been preserved, especially in Levasseur’s school; but,.
alongside of it, the Renaissance has alrcady appeared upon the
field with tolerable decision, and, with the examples of classical
architecture, the ornamental motives of the latter are likewisecoming
into use. Figure-drawing adheres mach more closely to
the antique. The Frencli, in fact, have never degenerated as
mucli in the figure as in Ornament, and tlieir preference for antique
fonns, especialiy in sculpture, is characteristic. Ihe execution in
drawing, although picturesque throughout, never neglects modulation,
and the effort at complete deception is always apparent.
The feeling for light and shade is educated to a mucli higher
degree in the Frencli schools than in the German, in which latter
the main stress is laid upon the elaboration of the form, and the
truly picturesque effect is slighted. The German drawings from
casts have a plastic look ; but the shadows are mostly untrue in tint,,
and black to exaggeration. Even in the choice of the tint of
their paper, the French show a frner feeling ; and it never happensthat
drawings are made upon paper, the local tint of which does
not correspond to the tint of the object.
1 The designers working for art-indnstrial pnrposes are in the saine state of
vadllation. Tlieir works were exhibited in the transept of the French division.
V. Diunont, Prignot, J. Dubuisson, are all of them still tlirting wit.li the style
of tlie time of Louis XV. Edan already eniploys purer and more compact
forms. J. Gonelle and Charles Francois remain unsurpassed in their designs
for shawls.
