IDENTIFICATION OF THE AETISAN AND ARTIST. J2o 



Anotlier remark I will read, wliicb comes in tlie same passage, because, 

 it seems as, written in that age, prophetic of what may be considered 

 the characteristic commercial policy of this day — that policy which par- 

 ticnlarly owes, if not its origin, certainly its greatest impulse, to this 

 city of Manchester. He says : 



"Now, tliougli wise kings do by advantage play 

 With other states, by setting tax on toys. 

 Which, if needs do permit, they justly may, 

 As punishment for that vice which destroys, 

 To real things yet must tlieij careful he, 

 Here and ahroad, to keep them custom free; 

 I'roviding clothes and food no burden hear, 

 TJien, equally distributing of trade, 

 So as no one rule what we eat or wear, 

 Or any town the gulf of all be made ; 

 For, though from few -wealth soon be had and known, 

 And still the rich kept servile by their own, 

 Yet no one city rich, or exchequer full. 

 Gives states such credit, strength, or reputation. 

 As that far-seeing, long-breathed wisdom will, 

 Which, by the well disposing of creation. 

 Breathes universal wealth, gives all content, 

 Is both the mine and scale of government." 



Kow, gentlemen, I wish to come to some general results. We have 

 seen, that so far, in every instance we have examined, wherever 

 there has been real heaufy and perfection of worl; it has heen in con- 

 sequence of the practical art, and of the fine art, tchich ought to ivorlc 

 together, being most closely combined, and, as nearly as it can be done, in 

 the same individual, or else in the most perfectly harmonious coopera- 

 tion. Kow, we must watch very carefully whether the plans which are 

 being proposed for artistic education — to be applied to production — 

 wull tend to combine these two characters better, or further to sepa- 

 rate them. I come to the conclusion, that if art has always flourished 

 in its perfection when the two have been combined: and if, on the 

 other hand, it is acknowledged that at present art is not applied 

 to manufactures as it might be, and if it is, at the same time, the 

 clearly visible fact that our artisans and workmen are not artists — I 

 think I have a right to conclude that this separation, of the two characters 

 is the cause of our inferiority, and that, therefore, the education ichich ice 

 are to prepare for those tcho are to carry productive art to its perfection 

 must be one ichich will combine, closer than is now done, these tico depart- 

 ments of what I consider one and the same thing, Now, is it or can it bo 

 so by the education -we are now giving f I observed that what I have 

 said till now has been acknowledged long before by one of the greatest 

 authorities iu matters of art — that is, Dr. Waagen, the director of the 

 Eoyal Gallery at Berlin. He was examined, iu 1835, before a committee 

 of the House of Commons on the improvement of arts and manufactures, 

 and he said that "iu former times artists were more workmen, and the 



