GERMAN r.
45
which either pass into the shops of manufacturers as models,
or are put to direct use for ecclesiastical or profane purposes.
In architecture, constructive drawing from antique, Gothic, and
Renaissance examples, is followed up by original designs, and by
tlie application of architecture to the ornamentation of art-indus-
trial objects.
In the figure the antique is succeeded by the study of nature,
for the portrait and for the whole flgure, in drawing as well as in
modelling. Painting is also practiced in this conneetion. /
The institution, likewise with a view to the advancement of art-
industry. also accepts Orders for plastic or pictorial objects of a
1 arger size, as well as for the solution of purely artistic Problems,
the° execution being intrusted to the pupils under the direction of
their teachers. By this arrangement, which has resulted from ex-
perience, the institution provides that which is so frequently want
in- to German industry, and which was particularly dwelt upon
at the beginning of this essay, —a bridge between art and art-
industry. , _ . . ,
The Organization of the Nuremberg Art-School, such as it
has been rapidly sketched here, together with its supplement-
ary art-historical and anatomical lectures, the employment of
various processes for the multiplication of its productions, &c.,
certainly leaves nothing to be desired. The only questmn which
remains open to discussion, is this : What relation does the tend-
ency of the school (as regards style) bear to the general current
of the times? and what influence will it exercise upon German
industry for the present, and in the immediate future? As
a matter of course, we here touch upon a question of mueh
more general importance; this, namely: What part does the
Gothic style enact in the architecture and the industry of to-
clctV" 9
Whoever wanders throngh the streets of old Nuremberg will
readily understand, that, in the midst of the living traditions of
the middle ages, among the fairest flowers of German art, these
same elements must necessarily continue to thrive in an art-school
there situated, even when elsewhere time has already provided a
new garment for art, and taste, always developmg in ever-varying
changes, has indulged itself in an abundance of other forms. The
