MODERN. During the first half of the nine teenth century mural decoration declined to very low estate. In France, however, the influence of the national school of fine arts and the Gov ernment patronage of the arts preserved it from extinction, and the domination of classicalism and tradition began toward 1840 to yield to a new and fresher spirit, exemplified in the works of Hippolyte Flandrin. The decorative sense is more highly developed in France than else where, and there has risen in France a remark able school of mural painting, whose influence has been felt throughout the modern world. .Modern French decorative painting rejects the flatness and conventional composition of the Italian fourtcenth-century inclining rather to the pictorial realism of the dc%cloped Renaissance sc•hool,: but it re•e•omizes Hie dif ference between all easel picture applied to a %%all Or ceiling, and 0 dec•oratlye painting com posed specially for it'll architectural setting. Paul itandry ((;rand Opera) and the late Purls de Chavannes (I'antlti•on) are the most noted ex ponents of this school: but .1. P. Laurens, 0. Galland, and others stand high in this art : and all French building, are rich in the• work, of such men.
While Germany did mud] early in the cen tury to study and revive mural painting. classical tradition tended to -title originality, and no really great masters the art have appeared. ((nimbus (1783-1867) and liaulbach 11805-74 made efforts to revive monumental mural paint ing, especially at. :Munich and Perlin. but their works lack the real decorative spirit. In Eng land there is almost nothing to show in the way of mural painting, the preference there being usually for decoration by arehiteetonie tuean• and conventional ornament. In Spain the ecerntl•ic hut powerful genius of Goya (171il asserted itself in the first third of the last century ill ceiling paintings of great merit in Madrid. but he had no sttc•eessors• and Spain
and Italy are equally ill arrears in this branch of art. Until lately the same was true of the United States. but recent progress in American art has in nothing been more noteworthy than in the rapid of skill in mural painting. This has been stimulated by the influence of the Chicago Columbian Exhibition and others. Many great public buildings recently erce•ted have been adorned with mural paintings by first-rate artists te.g. Boston Public Library. Congressional of \\'asitington. A ppella te Court and Mendelssolin Concert Hall at New York. etc.): and American artists. though generally trained in France, have shown independence and originality. Among the leaders in this revival may be named W. Hunt, \layn:u•d, Kenyon Cox, ltlashfield, Blum, Abbey. and Sargent.
Modern mural decoration has generally aban doned fresco painting in favor of oil painting on c:uwas, attached to the wall with white lead.
Fresco, tempera, vile:111st ie. and Wa painting are rarely :ittempted. Other form- of decoration have been revived and are largely used. wainscoting. marble incrust rat ion. mosaic, and inlay and stucco relief. and wall-hanging- in paper, tapestry, stamped leather. and ma terials, besides other more purely arellitectonic methods of adornment. being widely used and with conspicuous ...IWO....
B ta.104,R.? en Y. No special works have written upon 111e• general subject. except practical manuals for the use of painters, such as 'Thomas, .1/11011 lb corotions (London. I8I;91 s.hield, Vora] Pointing ( Ito-lon. 18871. Ciumsalt also the• bibliographies of NlosAte, and the other artn•Ies relerred to.