110
ART EDUCAT10N.
specialist to the Exhibition who might liave supplied further in-
formation. The representation of the course of instruction had
only beeil partially kept in view; generally speaking, mere exhibi-
tion pieces had been sent, i.e., the best productions of the scliol-
ars. We sliall begin with the North of Italy, that pari vvhich was
most extensively represented in the Exhibition.
The ‘‘Istituto Industriale e Professionale ” of Turin exhibited
specimens by its pupils, which embraced all the depavtments of
drawing. The drawings of the technological sections were espe-
cially prominent, and the course of instruction in the preparatory
dass conld be clearly traced in them. In the special courses very
good specimens in machine-drawing were to be seen, while arehi-
tectural and topographical drawing was also represented by ex-
cellent work. In freehand drawing the Ornament (in lead) was
especially brilliant. Drawing in this institution is intrusted to
the excellent management of Prof. G. A. Boidi, the author of
many works in this specialty, which were on exhibition, and must
here be mentioned. His “ Manuale di Disegno Lineare Geo-
metrico ” embraces the knowledge of form applied to geometrical
Ornaments, projection applied to buildings, and the most impor
tant parts of perspective. The same author’s “ L’Ingegnere,”
in which descriptive geometry is thoroughly treated, the examplesr
being mostly selected from machinery, may be looked upon as a
continuation of the first work for the higher classes. For archi-
tecture the “ Corso Compiuto di Disegno Geometrico Industriale ”
offers an excellent school in construction, while the “ Manuale di
Disegno Architectonico ” contains beautiful motives for architec-
tural decoration.
Boidi’s “ Corso Elementare d’Ornato ” has been designed for
the first stages of instruction in freehand drawing, in aecordance
with the legal requirements of the plan of instruction. It pro-
gresses gradually from simple leaf-forms to more developcd Orna
ment, and is succeeded by the “ Corso Progressive d’Ornato
Ombreggiato a Due Dinti,” which serves as a preparation for
drawing from natnre, and embraces Renaissance forms as well as
Gothic forms. It is somewhat hindering in these copies, that the
tint fills in only the outlines of the figures, while the background
is left white ; otherwise the execution, and the treatment of form,
