IDENTIFICATION OF THE ARTISAN AND ARTIST. 327 



of tlieir eaiploymeut — in pattern-drawing, and tbey are paid very liigli 

 Ijrices by the manufacturers." This, then, accounts for everything, 

 because it is the union of high art in design with manufacture that 

 makes the French superior. The evidence of M. Coquerel, who is 

 himself an eminent architect and designer, shows that a distinguished 

 artist, who became president of the French Academy of Arts at Kome, 

 and one of the first of his day, was employed at Sevres, in the china, 

 manufacture; and he states, also, that of fourteen or fifteen French 

 artists of the first rank, educated at Eome, with whom he was acquaint- 

 ed, many were scattered through France assisting in the difierent 

 manufactures. Fiu<l ing the market for the highest class of artistic works 

 so limited, and so full, these men, instead of sinking into despair or com- 

 mitting suicide, as has been seen in similar cases, turned their high 

 talent to the assistance and iniprovement of manufactures ; and they are 

 not thought to have dishonored themselves by doing this ; nor is it con- 

 sidered their superior education was thrown away npon them in quali- 

 fying them for the posts they now occupy. Why should it not be so 

 here? Let any one go into the exhibition of paintings in London, and 

 look around the walls; he will, jierhaps, find only a small number of 

 artists who can, with any hope of advancing themselves in the path to 

 eminence, continue in what they may consider the highest department 

 of art; and I cannot but think there are many in distress, persons who 

 might be mailing an honorable livelihood, if they would apply their 

 talents to what they would wrongly consider, perhaps, a degrading 

 employm.ent, but which is most honorable — the improvement of art in 

 its productive department. 



The second step which seems to me of the greatest importance, is to 

 familiarize the people with art. This I know is a very trite topic, and 

 one which can hardly be considered to require from us much attention. 

 I know it is proposed to make museums in every part, and I think that 

 excellent. But we must observe how it is that that familiarity with art 

 has been obtained by other people; it has been, not so much by having 

 places to which people were to go to see art, but by rendering it familiar 

 ever^'w^here to their eyes. The ancient Greeks, proceeding from other 

 considerations, which we, as Christians, could not for a moment wish to 

 have considered, such as the public spectacles, and feasts, and ceremonies 

 of Greece, filled their whole country with works of art. Any one that 

 will read the works of Pausanias, or the first book alone, will see how 

 impossible it was for an Athenian to go ten yards in any direction in 

 the city without seeing some beautiful work of art. On everj^ side there 

 were monuments, and statues, and temples, of the most beautiful work- 

 manship and design; and the peojjle became imi^regnated with the sense 

 of artistic beauty; and therefore whoever, even a meclianic^'putMsliand to 

 any loorlc, icorlced under the influence of that feeling. In a later period, in 

 Eome, there was the same plan of filling the public buildings, the streets 

 and squares of the city, with sculptured monuments and with paintings 



