The New York herald., 1874-11-01
PRIMARY ART EDUCATION IN AMERICA.

To THE EDITOR OF THE HERALD:-
Reading with much pleasure your able editorial
In Saturdays edition or the HERALD headed ..Pri.
mary Education in Art,rI am led to trespass
with q few remarks on your valuable columns and
TO inquire, 'What will be the probable future con-
dltion OF American art?'' which possesses much
valuable and general interest, and which, by asso-
ciatlon, awakens a feeling almost personal In It's
most favorable solution, cannot, perhaps, be with
more propriety considered than at the present
time.
Now, the law which governs men In their indi-
vidua character is applicable also to their social
character. We examine our own career, we scru-
t1nZe national progress for the same end. The
means may be different, but the purpose is i1enti-
ca-moral good. In one case observation is exer-
cised toward formation OF character; in the
other it Is directed toward the general condition
of mental pursuit. In both the design is to
insure advancement. SO great is the tendency OF
the mind, however, to individualze Its action,
that in extensive views OF human lie the process
OF inquiry becomes inducted upon principles
strictly analogous to persons. Hence 1t Is that
narrow, limited zeal is engendered, which writes
the history OF civilization with the rit OF party
and that events are commented upon, not as the
result or general causes. but particular Incl
dents. Apart, however, from these considerations
the knowledge OF our comparative national con-
powers commercial greatness, social advantage
disparity, ls Of all destined to the public
service, the most important. No great
State can exist without 1t; even China
has felt its inauence. But not to any
nation Is this knowledge Of so much Importance
our own. We as people are apt too devoutly
to worship that wisdom that never goes abroad.
Our government our schools, our modes OF sales
/ and barter, may be all good. We are inclined too
i Nv tn n W.
! purchase the excellence we want; II poor we
despse IL; II trading estimate 1T not according
to Its intrinsic merit or quality, but the market.
Now, the evil consequences OF this system we
have felt We treat the productions OF art as
simple ARTICLES OF commerce; we have left them
like hay, straw, brick and cotton, to find market
where they could; ana. proud OF our mechanical
power, We have used IL like brute iorce sepa-
rated and unconnected with design. Thus, like
frankenstein, we have been punished by the
demon o our own creation.
The progress oil art upon the Continent OF Eu-
roDe IS the result OF very different causes. Chris.
tian art arose IN Italy II m the religion wnich
placed that iovored land at the head ol modern
CIVILIZATION. AS that relgiun spread art was nom
oted. Kings were its patrons; mighty princes
religious feeling. Not dlssimiar was its condlIion
In Germany and France: But in THIS country art
acton then, snail be taken to give it the impor.
tance it must acquire Art is a properly no W IN
heried by the ricn, worked Tor by the poor appre.
clated as source o. recreation and ackno lodged
as power OF commercial prosperity. one would
naturally suppose that We 50 devouty.
It's extension. would desire not only
or,nS,es to create =, nn maket int every spot
that market by every means within our power.
But II s not ior, Notwithstanding our resources
the enormous capital employed, our great power
in machinery, the enterprise OF our merchants,
the sk and unceasing industry OF our artisans,
serted by the immense Import Of foreign goo Is
solely from that cause. Nor is this all 1t is shown
that all idea OF originality Is abandoned BY our
manufacturers; that Whatever the article o trade
Its design was either direct piracy or to be
plrated at tue shortest notice; that to blend imi
tate dsstort the productions OF others is tue pre-
vaiing rule. 1t is Their bread, OF which they but
ter both sides. In decorative iron work, III all
branches OF the silk trade calico printing, paper
hanginga. and the gold or silver smiths trade or
art the practice Is the same.
This IL, perhaps, natural; the national govern
menl or tue states never taking any Steps
toward establishing schools Of design, that being
LETT to the munihcence OF private individuals
The e are also other reasons Except wnen first
class artists are employed none exist who could
supply the manufacturers with original designs
Such as are prodnced are the productions or
those unacquainted with all but the merest
elements OF drawing, devoid OF all educated taste,
uninstructed by any examples bur those common
IN he trade: ignorant OF proportion, perspec-
rive form, and continuity OF outline, beauty OF
color, and unbessed with any, or even the
slightest, knowledge oil II as question or science.
At the nest the designer is lett 10 Qroue on mn.
assisted, and his work s the mere result OF talent
ungnided by knowledge.
We can manufacture, but we cannot design.
Thus the spectacle is exhibited OF a nation enabled
to produce as good an article as regaras materlal
yet unable 10 compete, and even excluded from
competition, with The foreign artis5, and that
upon their own land. by want OF knowledge in
schools OF design IN every large city for the in
struction OF our workman and the rising young
artisan
We are as men endowed with every attribute OF
physical power, yet unendowed Win rea sOn to
give that power effect, ike the barDaric chef OF
OIL In whose domains the precious metals
Amounted, but VINO suffered them to pass into the
possession oil every trader from inability to us
them properly himself.
The Importance OF the connection between
manufactures and art has always been admitted,
In Greece artists arose from the manufacturin0
districts, ana taey exeeled ia every branch OF
hlgh art. Schools oil design were first Introduced
IN France by Colbert, under the auspices OF Louis
XIV, and from that period have been widely diff
fused. In every manufacturing City In England
and Germany schools oil design have been estab-
lished under the teachings oil the best aIlati6ed
masters with the greatest success. Yet for u.s. q
peculiarly mgnuiacturing nation, TO whom the
important. and whom 10 begoovcs were IL only
from motives OF mercantile Mterest to encourage
art for the promotion and protection OF cum
mcfcia industry, only the one at the Cooper In
stituc exists az the present time.
From whom sprung the beautiful designs that We
50 much delight In From Raphael Michael An
geio ana Bcnvcnuto CellIni, the ioig accrelited
oTspring OF hign and cultivated taste: also the
beautiiui designs OF lie Pautre and Watfeau It
was py such men, then, that OF vId tine orname ntg
OF palaces, produced ny the loon, silver bronze.
iron and wood, were designed. IL Is to rajse al
men-li 20 sioie such men--at all events men
trained IN the discipline OF sucn exampIes. that
all our efforts should be directed. what the occu-
patton OF the pupil may be 1T IL not incumbent on
ina scnoOl TO decide. The mission OF the school