102 Mr Wilson on the State of the Arts in Italy. 



mark, that the carpentry of the Italians, as observable in ordi- 

 nary houses, displays little skill and indifferent workmanship ; 

 but in the roofs and floors of important buildings, they satis- 

 factorily prove their knowledge of scientific principles, and se- 

 veral of their designs are well known to British architects. 



With regard to the working of iron, in comparison with our 

 system the Italian is primitive indeed ; yet at times they can 

 and do produce very good specimens of workmanship, but at a 

 heavy cost ; consequently they are generally content with very 

 ordinary productions. A manufactory of wire, and of driving 

 and screw nails, by means of machinery, now occupies the villa of 

 Meccenas at Tivoli ; the articles produced are very well made. 

 Copper is extensively used in Italy, and there are productive 

 mines in the Maremma Toscana. The workmanship of articles 

 made of this metal is respectable ; various utensils are made 

 of brass in a very neat and satisfactory manner, but in the in- 

 terior finishing of houses, if much nicety is required, articles 

 of foreign manufacture are used. 



House-painters may be mentioned in the last place, and 

 these display much taste and skill : and there is a class of them 

 who greatly excel those in this country, having more the feel- 

 ing and taste of artists. Surrounded by the finest models in this 

 art, the Italian decorator enjoys every advantage in its study, 

 and he inherits besides from the best periods of art, or rather 

 from all antiquity, taste and a good system of workmanship. 

 He is not a mere machine like the workman in this country, 

 who has little use for an intellect beyond enabling him to use 

 his moulds, stamps, and the various mechanical contrivances 

 which confine all our decorative arts within such commonplace 

 limits. 



In all old architectural drawings and engravings, we find 

 a vigorous artist-like style, which is reflected in the works done 

 from them. In the architectural engravings of the present 

 day, every thing is sacrificed to a display of dexterity in the 

 use of the burin ; the spirit of the original ornaments is never 

 represented. How strongly this is illustrated, for example, in 

 our engravings from Etruscan vases ! Works executed from 

 such engravings, or from drawings like them, are naturally 

 stiff and lifeless like the models. People who possess a feel- 



