National Republican. (Washington City (D.C.)) 1872-1888, 1886-06-29

profoundly In sympathy with the working
classes, rich in wise thoughts, and glowing
with patriotism. These articles are intro
duced with two quotations which deserve
to be recorded here 81 do not want art
for few any more than education for a
few or freedom for .n-tWilliam
Morils.) Again: "No system of educa-
tion is truly solid and sound and demo-
cratic which does not make It possible for
the child Of superior merit, however poor,
TO mount 10 the highest round Of the edu-
cational lndder."--(John d. Philbrick)
As even the titles OF the articles are of
deeply-suggestlve interest, we give them
below; ~ The Democracy OF Art; icy The
Church as Patron Of Fine Art; t3) The Term
"Art" Considered; t4) The Technical Edu-
cation Of People; (5) Industrial Art in
America; 10Y Dangers Disclosed by the Cen
sus; az Education in Relation TO Social and
Economic Changes; (S) The Situation in
Europe and the United States; (9) Public
Observation-Disclosures OF Wealth In the
United States; (10) Education in Art Essen
tial in America, with Addenda on Fashions
in Architecture; (1D Art and Political
Economy; (12) Industrial Relations OF Eng
land to America In the Light OF History;
(f8) Art Industries in America before the
Centennial; (14) The Present outlook.
PRACTICAL LESSONS.
The great practical lesson running
through The Democracy Of Art, as indeed
through all following subdivisions Of this
report, is that the artistic skill IN drawing u
beautiful pattern for wall paper, for any
materials Of silk or cotton, or In any other
branch of industry which requires construc-
tive ability, is not a divine Inspiration lin
tied to the gifted few, but, on the contrary,
that every child who has brains enough to
learn to write has the capacity to learn to
draw, thereby greatly increasing the value
Of his or her labor In any direction In which
the skill thus acquired may be employed.
For valuable and perpetual illustration Of
this fact, Col. Clarke, who runs the
risk Of repeating himself on the theme, fol-
lows the lead Of his great exemplar,
Prof. Walter Smith, and brings in, head
and heels, at every opportunity the Inter
national Exhibition held in London in 1851
And, indeed, the significance OF that Exhibit
tion is well worthy the attention Of all
American citizens who desire for their
country leading position in those indus
tries which require artistic skill. At the
Exhibition in London, 1851, Great Britain
learned for the first time her great in
feriority to most of the European nations
in all productive industries into which the
fine arts enter as an important element.
| Her people, however, had sense enough to
learn the mortifying lesson. Schools OF
design, on the model and under the direc-
ton Of South Kensington Museum,
were exhibited throughout the country.
The royal family, parliament, manufac-
turers, educators, artists, and the workers
heartily co-operated, until, In the
Paris Exhibition OF 1878, Europe was
astonished and England was Justly elated
at the wonderful advance In artistic skill
manifested by British manufacturers. Prof.
Walter Smith, the state art director OF
Massachusetts, said to the Massachusetts,
teachers in 1873 "In the great exhibition
| Of 1851, the English critic had TO walk
through the industrial department Of his
native country with lowered head and a
sense Of shame. In the Paris Exhibition of
1873, he could examine English WORK with
head erect and feeling Of honorable pride.
And though this may be regarded as q
sentiment only, II is one which has a very
] .sa.NNii~ ah~..>.I~- s-Li-. Il
makes life worth living. And
this was done by appealing, through
system OF national art education,
for something which was said to be not in
the instincts of Englishmen; and, In spite
of all opposition, few men who would not
be put down by derisive shouting OF Rule
Britannia by sham patriots or the roar
ing of British lions have, in the face of
most unfair criticism, accomplished their
work and made the English skilled nation.
No thoughtful American can have
examined the two great exhibitions at
Philadelphia and Paris, as l have done,
without feeling that his country does not
chow well at such displays in comparison
with many European countries. 1t used
to be the monopoly of England to stand
lowest In the visible evidences Of civiliza-
tion, as seen in her manufacturing indus
tries. l am sorry to be obliged to say that
we to-day in America have inherited that
reputation which England has lost. You
must bear with me in thus speaking the
truth to you, because am here myself to
share in the reproach and to do my part
in its removal" sI
1t is gratifying to know that as the re-
port advances we find Prof. Smith success
ful in removing great portion of the ''re-
proach," especially from the Industrial
products Of Massachusetts, the state which
invited him from England in 1870 and en-
joyed the benefits OF his services from that
time until 1888. The testimony OF French
experts sent over TO the Centennial exhibit
ton is striking evidence Of the progress in
Massachusetts.
WHY AMERICA SHOULD TRAIN INDUSTRIAL
DESIGNERS.
We take the following answer TO this
query from an address delivered by the late
Mr.. Minifie. of Baltimore, before the Mary
land .Institute, and recorded on page 43O
of Col. Clarke's report:
"By improving the art Of design they will
givea new impetus TO manufacturers, which
would soon enable us to retain, for the en-
ployment of our own people, some portion
OF the immense sums annually paid for the
productions of European labor, which could
just as well be executed at home.
"We have climate embracing nearly
all the temperatures from the torrld TO the
frigid zone, which enables us to cultivate
successfully most OF the staples used In tex
tile fabrics. The sllk-worm thriVes well
over very large extent of country, and
the raw silk can be raised TO almost any
amount.
ave have inexhaustible mines Of the
metals and OF coal.
"With all these advantages and with
manufacturing machinery unsurpassed we
are indebted for our designs almost en-
tirely to imported patterns or to the emf
prnnI nrndnnIn nr Of fnrni1r1, nnhn.l.