d moral
culture. By the side of the models of the school-rooms, where children
find school-furniture studied with painstaking care and proportioned to
their stature, have been placed the works executed by the
school-children themselves of every kind, primary, maternal and
professional. These works, in a general way, prove an average aptitude
for the industrial arts, and indicate a real taste for beautiful forms.
A hall is wholly set apart for the pupils of the special schools.
Finally, around the two pavilions are arranged the numerous statues,
purchased, or ordered by the City of Paris, archers, halberdiers,
officers of the watch of the fourteenth to the seventeenth centuries,
and we recognize, as we pass, the "Sauveteur" of M. Mombur, the
"Science" of M. Blanchard, the "Art" of M. Marqueste, and especially the
proud "Porte-falot" of Fremiet, which decorates the lower part of the
staircase of the new Hotel de Ville.

PALACES OF THE LIBERAL AND FINE ARTS.

The two Palaces of the Fine Arts and the Liberal Arts are of equal
dimensions and similar aspect. They cover an area of 21,000 square
metres. They are composed of a large central nave, measuring 209.31
metres in length by a width of fifty-three metres and one-half. The nave
is surrounded with galleries on the lower floor and first story. On the
garden under the porticos are restaurants. Each of these palaces is
connected with the Industrial section of the foreign countries by a
large vestibule thirty metres wide by 115 in length, one of which, that
of the Fine Arts, contains the exhibition of sculpture, and the other
contains a large part of the musical instruments. These two palaces are
entirely of iron, terra-cotta and ceramic work. The entrance is executed
by a large porch of three arches, and the wings on either side are
pierced by wide bays. Each is crowned with a dome fifty-five metres high
and thirty-two in width. These two palaces are striking examples of the
richness which can be introduced in a moment by the artistic employment
of terra-cotta and ceramic work, especially when the ceramic artists
bear such names as Mueller, Loebnitz and Parvillee, to say nothing of MM.
Breult, Boulanger and Mortreux, whose work we met in the ceramic
division, or which we shall meet in our walks through the foreign
pavilions. With M. Mueller, who has given his name to a kind of brick
covered with enamel on one of its faces, ceramic work becomes a portion
of the very fabric i