IT  ALT.

117

From  the  Island  of  Sicily  the  “  Societa  Operaria,”  of  Messina,
had  sent  some  drawings,  which,  however,  left  mucli  to  be  desired
in  choice  of  models,  as  well  as  in  execution.  They  were  principally
  figure-studies,  among  which  those  after  Julien  must  be
called  the  best,  in  spite  of  their  deficiencies.  Academical  studies
had  been  copied  (probably  from  drawings)  without  the  least
understanding;  and  the  shaded  Ornaments  were  wanting  m  that
delicacy  of  execution  which  otherwise  is  the  peculiar  characteristic
  of  the  Italians.  The  “  Scuola  Tecnica  ”  at  Nola,  on  the  contrary,
  exhibited  very  pretty  results  ;  linear  and  freehand  drawing
is  there  practiced  according  to  the  usual  method,  and  the  success
attained  deserves  full  praise.
From  the  island  of  Sardinia  the  “  Scuola  Tecnica  at  Caglian
had  sent  specimens  of  the  work  of  its  pupils,  among  which,  however ­
  only  the  linear  drawings  deserved  to  be  called  good,  re  -
hand-drawing  in  ornament  and  in  figures  (from  French  Originals)
is  practiced  without  System  and  without  results.
It  will  be  seen  from  the  remarks  made  in  the  preceding  paragraphs,
  that  exertions  are  not  lacking  in  Italy  to  keep  alive  the  traditions
  of  its  rieh  art-industry,  and  to  trainnew  agents  fonts  Service.
The  fact,  that  the  forms  employed  do  not  go  beyond  this  traditio  ,
and  that  very  little  progress  has  consequently  been  made  for  years,
is  mainly  owing  to  the  schools,  which  content  themse  ves  with  imitating
  old  examples,  and  neglect  to  introduce  new  elements  from
the  universal  fountain-head  of  all  art,-from  nature  Even  he
absence  of  flgure-drawing  is  suffleient  to  act  as  a  check  upon  the
free  development  of  the  ornament;  and  this  subject  will  ha  e  to
receive  attention  above  every  thing  eise,  if  the  people  are  to  >e
educated  to  a  higher  comprehension  of  art.  The  Italian  Industries ­
  of  to-day,  unlike  those  of  the  Cinque-Cento,  have  no  great
art  at  their  side,  from  which  they  might  receive  a  further  Impulse
They  plod  along  the  old  roads  in  solitude,  and  are  content  with
preserving  the  intellectual  elements  bequeathed  to  them  bj  former
Ü  To  be  sure,  the  time  during  which  reformatory  movements  in
art-industry  have  been  made  consciously  has  been  but  short  as
yet  and  the  monumental  world  of  Italy  is  far  from  being  exhausted.
  But  it  seems  as  if  a  freer  intellectual  movement  in  the