. Alps and sanctuaries of Piedmont and the Canton Ticino (Op. 6.) . zy IT-dam ft> > i *i «. BY AN ITALIAN SCHOOLBOY. much as his predecessor did—if the truth were known,probably a great deal more. It does not lie in wantof schooling or art education. For the last threehundred years, ever since the Caraccis opened theiracademy at Bologna, there has been no lack of art i9o ALPS AND SANCTUARIES. education in Italy. Curiously enough, the date of theopening of the Bolognese Academy coincides as nearlyas may be with the complete decadence of Italianpainting. On p. 189 is an example of the way
. Alps and sanctuaries of Piedmont and the Canton Ticino (Op. 6.) . zy IT-dam ft> > i *i «. BY AN ITALIAN SCHOOLBOY. much as his predecessor did—if the truth were known,probably a great deal more. It does not lie in wantof schooling or art education. For the last threehundred years, ever since the Caraccis opened theiracademy at Bologna, there has been no lack of art i9o ALPS AND SANCTUARIES. education in Italy. Curiously enough, the date of theopening of the Bolognese Academy coincides as nearlyas may be with the complete decadence of Italianpainting. On p. 189 is an example of the way in which Italianboys begin their art education now. The drawingwhich I reproduce here was given me by the eminentsculptor, Professor Vela, as the work of a lad of twelveyears old, and as doing credit alike to the schoolwhere the lad was taught and to the pupil himself. So it undoubtedly does. It shows as plainly thereceptiveness and docility of the modern Italian, asthe illustrations given above show his freshness andnaivete when left to himself. The drawing is justsuch as we try to get our
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Keywords: ., bookcentury1800, bookdecade1880, bookidalpssanctuar, bookyear1882
