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the drawing-rooms of the Gymnasium in honour of the Prince, who had recently been elected to the Bulgarian throne. Some five years later, on the occasion of the first Bulgarian Industrial and Agricultural Exhibition, held at Plovdiv in 1892, the first collective art exhibition was organised, the productions of the various Bulgarian artists being exhibited. King Ferdinand is a consistent patron of Bulgarian art, and has the richest collection of pictures in Bulgaria, distributed among his palaces at Sofia, Plovdiv, and Varna. M. Audrey Protitch, in a recent monograph on Bulgarian art (to which I am indebted for most of the facts above) gives this critical summary of Bulgarian achievement: If we exclude historical painting, which, since the early and specialised attempts of Nicolas Pavlovitch, has been almost entirely neglected in Bulgaria, Bulgarian artists have tried their hand at almost every form of art. Ethnographical pictures, national scenes, pictures of military subjects, landscapes, interiors, flower pieces, animals, portraits, icons, allegories, mythical subjects, ruins, architecture--all these are fully represented in the art gallery of the National Museum, and have figured in nearly all the art exhibitions. The first place among these varieties is held by landscapes, _genre_, and portraits, whether in oil, water-colour, or pastel. The weak point of Bulgarian artists is undoubtedly undraped figures, especially undraped feminine figures, the only exception being Stephan Ivanoff, who however abandoned this class of work to become the best icon-painter in Bulgaria. Bulgarian art may be called national only as regards its contents, but neither in form nor technique. As we have already said, the subjects are taken from Bulgarian scenery or from peasant and town life. The sense of human form is gradually developing, with the exception of the feminine body, which remains proscribed by public taste. This last circumstance accounts, to a great extent, for the low level of sculpture in Bulgaria. Decorative art is making rapid strides, owing to the great amount of building going on during recent years. Artistic form and technique are in a transitional phase, all the younger artists waging war against the traditional and conventional styles and the foreign influences that have hitherto hindered the free
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