302 IDENTIFICATION OF THE ARTISAN AND AETIST. 



There is not to be one the servant, and the other the master; each must 

 be aware of the advantages which it can receive as well as those which 

 it can confer. Thus the arts, for instance, of design, will have to give 

 elegance of form, grace of outline, beauty of ornament, to that which is 

 produced by the other class of arts 5 and they in their turn have to trans- 

 mit and multiply and perpetuate the creations of the arts of design. 

 Now, it is agreed on all hands that as yet this complete harmony does 

 not exist; that we have far from arrived* at that mutual ap})lication of 

 the one class to the other which gives us a satisfactory result. It is 

 unnecessary, I believe, to bring evidence of this. As we proceed, I 

 trust that opportunities will present themselves of bringing before you 

 authorities for tliat assertion. Bat I may say, at the very outset, that 

 the report which is published by the department of practical art is 

 ahnost based upon the acknowledgment that as yet we have not attained 

 that application of the arts of design to the arts of production which we 

 desire, and which is most desirable to the arts of production to obtain. 

 It acknowledges the existence of a necessity for much more iiistruction 

 than has yet been given. It allows that for several years — thirteen 

 years, at least — of the existence of schools of design they have not been 

 found fully to attain their purpose, and a new organization and a new 

 system has now begun to be adopted. jSTo one can appreciate, I trust, 

 more than I am inclined to do myself, the advantages which must result 

 from the multiplication of these schools of design as applied to manu- 

 factures, and other great improvements which they have already begun 

 to confer, and will continue, no doubt, still more to bestow upon the 

 industrial classes. I believe it most important to pro[)agate to the 

 utmost the love of science, the love of art. I believe it most useful to ac- 

 custom every child to its first rudiments, its elementary states. I think, if 

 we can make drawing a part of universal education, a great deal v/ill be 

 gained. But this, certainly, cannot be enough. I am willing to grant 

 that we shall have a great improvement upon what we have produced 

 in the form of art. I believe that we shall see better designers; men 

 with better imaginations; men who understand the harmony and com- 

 bination of colors better, and who can give to the artisans patterns 

 which v.ill greatly im^x^ove every department of our industry. Bat, I 

 ask, is that sufficient? Will this bring art up to what Ave desire! This 

 is the great question. This is the subject of which I am going to treat. 

 It appears to me that there is a very simple mode of looking at it; and 

 it is the one, consequently, which I shall adopt. It is a question partly 

 of experience. It is a lesson much of which history can teach us; and 

 I desire to briug before you such facts as seem to me to bear upon the 

 question, and to enable us to come to a i)ractical and satisfactory con- 

 clusion. 1 will endeavor to state the question under a very sim])le, but, 

 perhaps it may appeal^, not a very practical form. 



There is now a great desire to form, not only in the capital, but also 

 in all great cities where industry prevails, museums, which should 



