The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-08-17

Industrial Art IL is of interest to note
(chart eight) that France has thirty
two schools of industrial art, that
there are thirty-seven centres affili-
ated with the Victoria and Albert Mu-
scum In England in addition to the
important county council craft schools
in London. and that Italy. Denmark.
Switzerland and other European coun-
tries are equally well supplied with in
dustrial art schools, including Ger
many, which. before the war. had fifty
nine schools of this type. In con-
trast with this there are but four
well equipped industrial art schools
In the whole of the United States.
Chart nine indicates that the sue
cess of courses in art and industry
depends upon their application to real
needs. While many OF the art schools
Of the United States (there are about
three hundred) could advantageously
revsmp their ideals, courses and
equipment for fine art work. and could
possibly undertake the education of
the industrial designer. the obvious
and immediate need is for Industrial
art schools which carry the instruc-
ton through the entire constructive
process in a practical and efficient
manner. The improbable academic
method of teaching art Is not a suo-
cess because It overlooks the fact
that designers. artists and artisans are
essentially workmen no matter how
fine are their creative faculties. The
profitable old masters method Is based
upon the apprenticeship procedure Of
the fifteenth century European Re-
naissance which begins under actual
working conditions. The results are
that the student gains technical
knowledge and learns how to apply It;
he does actual work and gains definite
skill which win enable him to become
an intelligent consumer. a proficient
salesman, or an expert skilled work.
man or creative designer.
Chart ten is a graphic exposition
of the fact that the nations invest
met in homes and schools will not
help to pay big dividends in factories
and stores unless the gap is bridged
by training in taste. Industrial art Is
a matter OF business. Foreign indus
trial art schools are, almost without
exception, subsidized by the State.
The United States needs municipal art
institutions based upon the local in
dustrial needs Of every community.
These inspirational centres OF Ameri-
can good taste should include a mu-
scum OF decorative arts with manu-
featured articles OF metal. wood, ce-
ramics. textiles. &C.; a museum Of fine
a Sc 60 Nx1 I,.An
painting; schools of fine art and Of in
dustrial art with studios. workshops
and salesrooms aiming to apply this
inspiration directly to local industries;
a working library, and opportunities
for the development OF music, poetry
and the drama
The future progress OF our nation
depends upon the efforts made now to
provide this training. Anything done
in this direction must start with the
individuals who inspire civic organiza-
tons to immediate action, spreading
In time to State and national move
ments. The machinery already exists
for securing Federal financial support
through the workings OF the Smith
Hughes bill. which permits the Fed
eral Board OF Vocational Education
to duplicate State appropriations for
teachers salaries.
Since cities are the first to profit by
having better trained citizenship ca
pable Of producing goods which pay
higher dividends through their skill.
this is a matter which cities must put
into operation as a business asset for
the industrial progress OF the nation.
hA los oh
to indicating how city can improve
its goods. making them more attractive
through superior design and durabil-
ity, and shows the wisdom and need
for our cities to take definite steps
toward the establishment of Industrial
art schools. Every city can increase
the quantity and improve the quality
Of its goods by joining in a national
movement for educating the people
in what they should expect as con-
sumers, how they should. create as de-
signers, build as manufacturers and
suggest as salespeople This is a pub
lie AFFAIR and not a private one.
Just how the authorities Of the Met
ropolitan Museum Of Art came to find
buried treasure under their own roof
tree the current Bulletin explains in
its account OF the bust of the Greek
historian Herodotos recently I'M
earthed there.
Everybody who Is familiar with the
workings of museums knows that
buried treasure is sometimes brought
to light inside their walls as well as
outside. Those who have been allowed
to penetrate into the storerooms OF
any large museum which is more than
generation old and have seen the
crowded mass OF undesirables that has
accumulated there know also that the
process OF unearthing such treasures
almost attains the dignity OF scientific
excavation. Usually these discoveries
are the result Of change OF admins
tration, when the new brooms not only
sweep ruthlessly through the galleries
but reach down even to the remote
corners Of the underworld and occa-
sionally bring out something which, as
is announced with more or less yelled
complacency. the previous generation
has overlooked. The last find in the
museum was presented in 1891 by
George F. Baker, who has since be-
come one OF the trustees. II was Sc
cured for him by the late Emil Brugsch
Bey. according to whose account it
was found shortly before at Benha, in |
Lower Egypt. An interesting con-
firmation OF the region of it's discovery
was Mr.. Lythgoe's detection the other