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ART  EDUCAT10N.

specialist  to  the  Exhibition  who  might  liave  supplied  further  information.
  The  representation  of  the  course  of  instruction  had
only  beeil  partially  kept  in  view;  generally  speaking,  mere  exhibition
  pieces  had  been  sent,  i.e.,  the  best  productions  of  the  scliolars.
  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  especially
  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  arehitectural
  and  topographical  drawing  was  also  represented  by  excellent
  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  Geometrico
  ”  embraces  the  knowledge  of  form  applied  to  geometrical
Ornaments,  projection  applied  to  buildings,  and  the  most  important ­
  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  architecture
  the  “  Corso  Compiuto  di  Disegno  Geometrico  Industriale  ”
offers  an  excellent  school  in  construction,  while  the  “  Manuale  di
Disegno  Architectonico  ”  contains  beautiful  motives  for  architectural
  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  progresses
  gradually  from  simple  leaf-forms  to  more  developcd  Ornament, ­
  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,