Instruction in all the departments is gratuitous, the conservatory of music having a special director, edifice, regulations, &c.; and the entire expense to the government being near $26,000 per annum.

This, as an example of what may be done for national art at a great distance from art centers, is certainly very creditable.

ART EDUCATION IN MUNICH.

From the facilities there found in other departments of superior education, the presence of great masters, and rare collections for each, it is at Munich that art education is most widely sought, there being at this point scarcely less than one thousand students at any time. The Royal Academy of the Fine Arts, which was founded in the first years of the present century, and which has had an uninterrupted life of prosperity since its new constitution and endowment by the noble Louis, in 1846, is both a society of artists and a school of art.

Instruction in this school includes historical painting, sculpture, architecture, engraving, the history of art, anatomy, perspective, descriptive geometry, and shading. While the antiques are much favored as studies for drawing, great attention is given to models from nature. Instruction in historical painting is given in four distinct schools, each having its professor, as have the separate schools of sculpture, architecture, and engraving. There are regular lectures upon the history of ancient and modern art, on anatomy, and all branches of related knowl. edge, by men eminent in these departments.

The full course requires six years, though pupils attaining the required proficiency may leave at earlier periods; no one being admitted who has not previously acquired great facility in drawing and a fair scholastic education, and then on a probation of six months before installation as pupil of the academy. Instruction is gratuitous to both natives and foreigners upon the same terms of qualification.

ART SCHOOLS IN FRANCE.

Between the international exhibitions held at London, 1851, and at Paris, 1855, an inquiry was instituted in France, through a commission of distinguished gentlemen, as to the means of promoting the artistic industrial resources of the common people. The report of M. Ravaisson to the minister of public instruction referred this great interest directly to their system of popular education, and set forth, in most convincing terms, the essentiality of drawing as an element of the most indispeusable value in early training. He took the ground, moreover, that drawing should be taught as the basis of pure art, leaving it free to develop into the industrial or the fine arts, as circumstances and taste directed. To this end he urged that the models from which the very beginner commences to copy should be those that are perfect of their kind, but simple in their parts-as the head in such detail as would insure the greatest success in later combination of the whole. This

report is full of suggestions as to the feasibility of advancing all forms of industry by the same elementary instructions that prepare for the highest art, and for introducing it to the reach of all who care for such education. At that time the public treasury was supporting a higher grade of art-education at an annual expense of between $400,000 and $500,000; and though the report referred to was made by decree of the minister of education the basis of such additions as it recommended to the scheme of public instruction, it is not until some years later that there are reliable statistics of its adoption in the communal or most primary schools.

Between 1865 and 1867, 180 of these schools, in the department of the Seine and city of Paris, were instructing classes of mere children in the elements of drawing and design, with all the facilities that several previous years of preparation had secured. In 1863 a municipal appropriation of 30,000 francs had been made for this preparation, which consisted in opening competitive examinations for qualified instructors, who should be ranked as professors, and be, for what they undertook to teach, masters and mistresses indeed. The carefulness of scrutiny to which the aspirant for this new place in the public school was subjected may be inferred from the statement that, out of 179 candidates, but 27 were accepted as qualified to instruct in ornamental, and 13 in geometric design. In addition to the teachers provided at such pains and delay, the commission in charge of this enterprise had procured an overhauling of all such models as had been in use in schools of design, throwing out, at the decision of the most severe criticism, all such as were not of superior value, remodeling and assorting and adding to, until, between the dates mentioned when instruction actually commenced in these schools, 35,000 models, embracing busts, engravings, photographs, basreliefs, and sketches, selected from the entire range of Greek, Roman, and modern art, had been distributed. These models, &c., had been classified so that they would, in turn, pass the circuit of all the schools, as of the evening classes opened in connection with these daily instructions for the benefit of such adults as sought their advantage.

The result of this movement that is intended to extend to the communal schools of the empire as fast as it can be done without lowering its standard, as of the frequent inspection of the mode of instruction and the work done by pupils, has been declared more than satisfactory. Material proof of this is found in the fact that, whereas in 1863 the municipal appropriation of 30,000 francs was deemed sufficient to inaugurate the measure, the appropriation of but two years after its first test, that of 1867, was 312,000 francs to enlarge and carry it to still further suc

cesses.

Art properly taught has not only an educational value for itself, but it is a valuable accessory to school discipline, relieving the monotony of the routine of ordinary school studies. The absence of art instruction in common schools is a serious defect. The addition of such instruction

would be most salutary, and tend to repress the increasing restlessness of our population.

It may be justifiable to console ourselves, on behalf of our country and of the world, by the reflection that the art education has been longest delayed, because it has been supposed to touch only that social development of a people last reached; and because, old as is the oldest country in comparative history, all are yet new in the work of understanding the complete needs of man.

SPECIAL EDUCATION.

CHAPTER VI.

INDUSTRIAL SCHOOLS.

SCHOOLS OF THE ARTS AND TRADES-RUSSIAN SCHOOL-FRENCH SCHOOLS, AND THE COURSES OF STUDY-GERMANY-SCHOOLS IN OTHER COUNTRIES OF EUROPE-AssoCIATION PHILOTECHNIQUE OF PARIS-MECHANICS' ASSOCIATIONS IN THE UNITED STATES-SCHOOLS OF APPLIED ART IN EUROPE-RAPID INCREASE IN GREAT BRITAIN-SCIENCE AND ART DEPARTMENT - SOUTH KENSINGTON MUSEUM-WURTEMBERG-NECESSITY FOR TEACHING THE PRACTICAL APPLICATIONS OF ART IN THE UNITED STATES.

It was natural that the important scientific discoveries which rapidly followed the introduction of the Baconian philosophy should have given origin to a class of schools specially designed to furnish instruction in the mathematical, physical, and natural sciences, whose potency for the advancement of the arts of civilization soon became unquestionable. Speculative philosophy, dogmatically asserting itself and promising grand results that never came, began, so soon as the foundations of science were laid, to lose its hold upon the best minds of the age; and not a few of the most culture came to see that scholasticism was not of itself sufficient to meet the practical needs of mankind, and seriously to question whether it was best to require every ambitious lover of knowledge to follow in the old beaten path, regardless of his purposes or his necessities.

One of the early fruits of the new philosophy was the establishment of the real schools as divergents of the gymnasia, some account of which has been given, Chapter IV. But the real schools were rather designed to fit a certain class of youth, presumed to be wanting either in ability or in inclination to pursue the classics, for the ordinary general duties and business of life. The idea that the engineer, the miner, the mechanic, and the farmer required, for the most successful practice of their several occupations, a training and study akin to, but very different from, the preparation which had for centuries been required of those who would practice the learned professions-this idea came later. But it did at last come, and in its train a great number and variety of schools of an entirely new class-schools scientific, schools technical and polytechnical, schools industrial and professional, institutions whose name already is legion, and yet whose number rapidly increases in all lands.

Hundreds of these schools were in some form represented in Classes 89 and 90 of the Exposition, and hence required attention. But if they

had not been represented, their vast importance to the world, and the interest awakened in them in all civilized countries, would demand for them a large share of consideration.

I.-SCHOOLS OF THE ARTS AND TRADES.

To the careful observer no feature of the Exposition was more instructive than the direct relation discoverable between the representative exhibits of a large class of industrial and technical schools, and the products of manufacture displayed in several departments, designed merely to illustrate the progress of industry. It was not the relation of harmonious development merely, but, as between the schools themselves and those industrial departments referred to, it was manifestly the relation of cause to effect. For nothing could be plainer than that in proportion as such schools had been established and fostered by a country, that country had made progress in those particular branches of manufacture for whose advancement they were originally established.

Thus, as early as the latter part of the last century, schools created for the purpose of furthering development of the arts began to spring up in many portions of France and Belgium, and in some other countriesschools for instruction in the arts of designing, engraving, coloring, dyeing, silk and ribbon weaving, lace-making; of the making of horological instruments of various kinds; stone-cutting and general carving; of manufacturing the most delicate patterns and elegant forms of glassware; of working the metals, both useful and precious, into nearly every variety of form, for the consumption of the most refined and cultivated nations-schools, likewise, of various grades for instruction in the prin ciples and practice of the more complex and comprehensive arts of mining, engineering, agriculture, &c. To-day it is undeniable that, in nearly all the branches of industry named, in every one, I will venture to say, for improvement in which special educational effort has been made, those countries are the acknowledged leaders of all others.

These remarks are eminently true in their application to the influence of schools of design in which France, more than any other country, abounds, and from which, in the whole range of artistic manufactures, all the other nations have so long been borrowers.

And yet France affords scarcely a better illustration of the general remark above made than England, the clumsy attempts of whose workers in glass and fine pottery, as well as in the precious metals and in certain kinds of figured prints, silks, &c., even as late as the first exhibition, were less remarkable as competitive failures than has been her rapid progress in all those branches since that period; when, being fairly aroused to a realizing sense of the causes of the superiority of France in nearly all the finer arts of manufacture, the British government began in earnest to found and encourage the establishment of similar schools in various portions of the United Kingdom.

Of the number, distribution, and character of schools of lower grade