152 
ShHI 
ART EDUCATION. 
second floor of the Spanish pavilion in the first zone; and, to 
judge from the catalogue, contained much that was interesting 
and important, as characterizing the present Situation. But it 
was impossible for the reporter to obtain any intelligence concern- 
ing the material on exhibition; for there were neither numbers 
upon the objects, which would have made it possible to find 
them in the catalogue, nor were the representatives at the Exhibi 
tion able to give any information whatever. 
Of freehand drawings there were some framed specimens, away 
up on the walls, — heads after Julien, pretty bad in exeeution, 
and French Ornaments in crayon, a few also in India ink. Some 
well-drawn heads in charcoal, from casts, were exhibited in a 
closed case; whence they came no one could teil. There were 
also linear drawings in bound volumes, from the “ Central Normal 
School” of Madrid, embracing the knowledge of form, geomet- 
rical Ornaments, architectural details, and parts of machinery. 
In view of the absence of art-industries of an)- importance, it 
is quite natural that artistic drawing should receive but little care 
in Spain, wliile more stress is laid upon technical drawing, which 
finds a rieh field in the necessary construction of railroads, ports, 
strategical works, &c. 
In consequence of this state of affairs, all the works on 
drawing which were exhibited showed a preponderance of the 
technical element. We must especially mention M. Borell’s 
“ Theoretical and Practical Treatise on Design,” as applied to the 
arts and industries, which excelled in superiority of exeeution 
(copper plates), and in its practical arrangement in progressive 
stages. Geometry, projections, geometrical Ornament applied to 
architeetuie, construction of shadows, &c., are treated in the first 
paits, and in freehand drawing the Ornament is developed from its 
geometrical ground forms, the acanthus-leaf being taken as abasis. 
Linear drawing is then continued with architectural objects, Greek, 
Roman, and Gothic monuments being principally taken as ex- 
amples. The text, witli very beautifully-exeeuted woodeuts, 
explains the historical development of the styles, and, with the 
limitations alluded to, may be looked upon as a history of 
architecture. 
Borell is professor of drawing at the Institute of San Isidoro,