GERMAN Y. 
43 
there was a certain heaviness of style, which frequently interfered 
with the distinctness of tlie motives. 1 Volz’s wall-charts, 11 School 
of Ornament and Architecture ” (mostly Gothic and Greek 
motives), which are in use in the institution, atfoid practical aid 
in teaching. I would prefer a more decided accentuation of the 
light and graceful elements of which the Renaissance is so fruitful 
a source. 
No especial tendency of taste was to be discovered in the draw- 
ings exhibited by the “ Polytechnical Central Society of Würzburg.” 
The beginning with outline ornament is good ; the continuation in 
figure and landscape drawing, on the contrary, is deficient. The 
drawing of wire-models and solid bodies, in the excessfve finish 
shown by the speeimens, is likewise waste of time. The drawings 
of ornamental sculpture, on the contrary, deserve recognition, but 
untasty paper of too dark a tint had been used throughout. 
Figure-drawing from casts and from nature was quite insignificant; 
the studies in color of flowers, still-life, &c., were bettei. 
The study of plant-forms, as before remarked, is unfortunately 
practiced but little in the German drawing-schools; a tendency 
towards improvement is, however, noticeable in this direction. 
Very excellent aids for teaching, to assist in the transition from 
conventionalized to natural plant-forms, were shown by J. Filser 
(Munich), in the shape of a collection of casts from living leaves, 
the natural movements of which had been transferred exceedingly 
well into the more solid material. 
Besides the works mentioned, not much has been produced in 
Bavaria of late, in the way of drawing-copies. The excellent 
works on linear and ornamental drawing, by Prof. H. Weiss 
haupt, the zealous Champion of the advancement of drawing- 
instruction, are too well known everywhere to need more than a 
mention here. E. Yolz, teacher of drawing and modelling at the 
District Industrial School of Kaiserslautern, deserves praise for 
his copies and wall-charts for elementary instruction.. Through 
his instrumentality the stigmographic method, which is so very 
1 Motive is a very eonvenient Word, which might as well he introduced into 
the dictionary of English art-language, the same as it has been long ago intro- 
dneed into that of English inusical language. Here, as there, a motive is a 
theme, a Suggestion, which the artist may reproduce in a Variation. Traiul.