A SCHOOL OF ART AND THE COMMUNITY. 47 f 



on the one hand, and the general public on the other, we have a 

 class who can either make or mar our work — the distributor. So 

 far educational authorities have not given this powerful class any 

 consideration or provided any means for its advancement of good 

 taste. How many of the salesmen or women have any knowledge 

 of the history or essential values of the things they sell? "All 

 types of business men should be the better for knowing an outline 

 of the history of trade or craft — the link with the past is always 

 ennobling." The distributor acts as a strainer between his sources 

 of supply and his customers, and he must be careful that his mesh 

 does not strain out all the good and so lead to a low standard of 

 production. I am aware that it is a difficult matter to successfully 

 get hold of and arrange for this class of people. The problem is 

 worth attacking, and the school of art authorities are the proper 

 people to direct the attack. The young salespeople and others 

 cannot gain a systematic and complete education in the shop or 

 warehouse ; too frequently they pick up their knowledge as best 

 they can. It is probable that only a very small percentage of 

 assistants have real knowledge regarding such essentials as origin, 

 raw materials, make, texture, adulteration, dyeing, design, and 

 quality of goods handled hourly, and discussed with the customer. 

 In the curriculum of such courses actual drawing lessons, as usuallv 

 understood, need not be included. Goethe in bis day wrote: — 

 "I do not know whose ideas should be broader than those of the 

 true merchant." Commerce is full of romance, and it should be 

 the duty of art — the handmaiden to romance — to help in crystal- 

 lising the romantic. To me it seems obvious that any business 

 would be improved in which its buyers, salesmen and travellers 

 had had some training in the direction I have so briefly indicated. 

 Some of the large firms in England and America have recognised 

 the value of further education among their assistants, and have 

 arranged for classes in their own buildings and in the employers' 

 time. I hope you will agree with me and recognise the importance 

 of the distributor in industrial affairs, and the need for some form 

 of education. 



We have also a large body of people who have no desire to 

 draw or become producers, but who are to be the consumers of our 

 productions. The school of art ought not to neglect these people, 

 and courses should be arranged to meet their requirements. A 

 series of lectures, illustrated by lantern slides, might be given, 

 dealing with everyday matters, such as interior decoration, the 

 treatment of walls, windows and fireplaces, good and bad fabrics 

 for hangings, table glass, pottery, and metal work, showing the 

 essential qualities which go towards making them good. The com- 

 parison between good and bad articles is always of interest. Co- 

 operation between the school and the local museum is of great 

 importance in connection with the course. The museum should be 

 the living centre of the intellectual life of the town — a living, 

 moving, ever-changing pageant, illustrating and illuminating 

 every expression of art, a place of reference for the students, a 

 guide for their practice and aims, also enabling the public to obtain 



