GERM A NY. 
It will be conceded on all sides, and withcrat question, that Ger- 
many occupied a prominent place at the present Exhibition, in the 
contest with other States in art and in industry. The mass as 
well as the variety of the productions exhibited made it evident 
that the nation has at its command a wealth of talent capable of 
reaching the highest aims, and that it possesses all the means 
which are necessary to enable it to add the triumph in the arena 
of labor to its other triumphs. But, in spite of all exertions, this 
triumph has not yet been achieved, and the “ battle of forms” has 
again resulted unfavorably to the Germans. This is a fact which 
can only be accounted for by the deflciencies of art-education, and 
of the cultivation of art in general. 
After German art, at the commencement of this Century, had 
begun to develop itself in men of great talent, and to bring forth 
grand monumental works, more especially under the patronage 
of the Bavarian princes, art-industry still continued, for a long 
time, to play a subordinate part; since, on the one hand, the royal 
road of art did not touch the domain of art-workmanship, while, 
on the other, French taste was everywhere so deeply rooted, 
that it seemed impossible to oppose it with a view to a re form. 
German industry in general appears to possess but little national 
character, from the time of the degeneration of taste in the seven- 
teenth Century, down to our own day. And yet the Opposition 
against the rule of French taste emanated from the elements of 
the older national art, which, although crippled and neglected, 
have preserved their individuality even up to the present time. 
Germany had brilliant epochs in art and in industiy, before the 
time ‘of the Baroque style. German Renaissance, in its rieh de 
velopment during the sixteenth Century, in which the traditional 
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