y the writing of his 1865 "Outline," Ware had already garnered substantial knowledge about the French architectural educational system, and cites as his major source a colleague, whom he does not name, in the atelier of André. The French Academic Tradition, as embodied in the system of architectural instruction at the Ecole des Beaux-Arts and realized in its greatest competition, the Grand Prix de Rome, maintained its hegemony as the recognized method of instruction in France from the 1600s until the 1920s. Prospective Ecole students joined an atelier, or studio, that was usually run independently from the Ecole by leaders of the architectural community. The head of the studio was referred to as the "patron," loosely meaning teacher or master yet having a slightly more familiar connotation. The patron of the atelier took in several students, forming an architectural "family." Once accepted into the atelier of their choice, and it appears that most students were, they would remain there until graduation, and often much longer if they entered the Concours de Rome and other higher level competitions. It was in the atelier, not at the Ecole, that the student learned how to develop and draw a project. Ecole lectures covered architectural history and theory, mathematics, and construction, but it remained for a student to learn and develop drafting and compositional skills in the atelier, under the guidance of his patron. Although the Ecole faced increasing competition from other educational institutions, particularly polytechnic schools, throughout the twentieth century, it remained in operation until the 1960s, ultimately dissolving during the period of student unrest in 1968. The French drawings that survive in the Study Collection are primarily envois, drawings sent back to the Ecole for review by French Grand Prix de Rome winners, and they include works by Emmanuel Brune, a pupil of Questel and a 1863 Grand Prix de Rome winner. Several drawings by noted French architect, patron, and 1854 Grand Prix de Rome winner Emile Vaudremer were also probably gifts to the Collection. Ware's letters thank numerous individuals for their hospitality during his travels. In France he mentions Eugene Emmanuel Viollet-Le-Duc, Charles Garnier, and M. Lesoufacher. Several lithographs of Viollet-Le-Duc's work are housed in the Collection, while Charles Garnier presented Ware with a large gift of photographs depicting the Paris Opera House. French drawings collected after Ware's departure for Columbia University in 1881 include works by Albert Tournaire, Grand Prix 1888; Benjamin Chaussemiche, Grand Prix 1893; Alfred Recoura, Grand Prix 1894, and Leon Chifflot, Grand Prix 1898. These drawings illustrate the interest by Ware's successors, Francis W. Chandler among them, in maintaining a rich archive of study materials and making it available to students in the Department.