SPAIN AND PORTUGAL. 
155 
But it was unfortunately apparent from the freehand drawings, 
that the methods pursued are not the most suitable, although the 
intentions are the best. Above all, there is a want of good copies. 
At the “ Real Casa Pia ” elementary drawing is taught according 
to the “Elementary Course of Design,” by Prof. A. J. Picard, in 
copy-books divided off into squares, and gotten up speeially for 
this Institution. The progression in tliis course miglit, indeed, be 
approved of, but it was seldom adhered to in the copy-books on 
exhibitiou, as quite a variety of different subjects had generally 
been taken up too rapidly in succession, and crayon and pen had 
been employed too early. Following Picard’s course, drawing is 
continued from French Ornaments with very mediocre results. 
The exercises in drawing from nature were very scanty. 
Linear drawing fares far better at the Institution; and better 
principles were discernible even in the “ Belatorio ” fqr the “ In 
dustrial Course,” which had been submitted. The most important 
propositions of plane geometry are gone through with, and the 
pupils then draw architectural details, columns, &c. These are 
succeeded by projections and shadows, very thoroughly treated, 
which in turn are followed up by machine and architectural draw 
ings (mostly from the French “ Etudes au Lavis ”). Among the 
latter dass especially, there were to be seen specimens of excel- 
lent execution. 
Specimens of an incomparably better character were exhibited 
by the “ National Lyceum,” but the linear drawings were again 
in the majority. The very excellent works by F. Motta, drawing- 
teacher at the Lyceum, were also on exhibition. “ His “ Com- 
pendium of Linear Design” follows the plan adopted for J. 
Picard’s work. Geometry and projection are systematically 
treated, and these are succeeded by practical problems in architec- 
ture and machine-building. In freehand drawing the course begins 
with copy-books ruled in squares, and rises from gcometrical forms 
to Ornaments, which latter, however, are not based upon any defi 
nite style. The drawings on exhibition showed that the course of 
instruction is correct up to outline-ornament, although ugly forms 
were frequently to be seen among them. The specimens of figure- 
drawing were deficient. In linear drawing there were some very 
beautifully executed specimens of uiackinery. Of architecture