150 ART INSTRUCTION. 



shame the crude and pretentious work of our own manufacturers and crafts- 

 men. Renewed efforts were made to remedy this unsatisfactor}^ condition 

 of things, and in 1S52 a " Department of Practical Art," under the Board of 

 Trade, was estabHshed, to supervise the work of the Schools of Design, and 

 to advance the cause of industrial art generally. This was superseded in the 

 following year by the Department of Science and Art, as a branch of the 

 Education Department. A wider scheme was organised, and a new system 

 of State aid inaugurated, throwing more responsibihty upon the localities 

 for the support of the schools. Direct grants were withdrawn, and the 

 system of payments on results of examinations was instituted. 



The effect of this change on the Belfast School of Design was disastrous 

 Local interest in its work was not sufficient to provide adequately for its 

 support, and so, in 1854, it was compelled to close its doors. During its 

 short life it had not been without influence for good, even if it had missed 

 its proper aim. Many local architects received more or less of their training 

 within its walls, and some of its students eventually entered the ranks of art 

 as professional painters or sculptors. Of these we may mention Samuel 

 M'Cloy, Ebenezer Crawford (a promising artist who died eaxly), Samuel F. 

 Lynn, the well-known sculptor, and Anthony C. Stannus. The building 

 occupied by the Belfast School of Design forms the north wing of the Royal 

 Academical Institution. This Institution, now a public school, was the pre- 

 cursor of the Queen's College, and is still known by many as the " Old 

 College." the square in which it stands being called " College Square " to 

 this day. The School of Design building had been the home of the medical 

 school, and of course the arrangements were not calculated to meet the 

 needs of an art school. 



After the collapse of the School of Design, drawing classes were carried 

 on in connection with the Academical Institution ; but the advantages of a 

 pubhc School of Art were denied to Belfast students until the year 1870. 

 Vv^hen the same old building v^as re-opened as the Government School of 

 Art. An influential committee was formed, and a considerable sum of 

 r»oney raised for the equipment of the School, and the establishment of local 

 prizes. Mr. Thomas M. Lindsay was chosen as head master, and justified 

 his appointment by the success which attended his efforts. The School took 

 a high place in the national competition, and many of the students laid the 

 foundation of a successful career in art under his direction. In 1880 he was 

 appointed Art Master at Rugby School, and was succeeded by Mr. George 

 Trobridge, A.R.C.A. (London), who had just completed a highly successful 

 course of training at the National Art Training School, South Kensington. 

 Under his direction the work of the School was somewhat extended — so 

 far, that is to say, as the limited space and unsatisfactory arrangements 

 allowed — especially in the direction of figure drawing. A nude life-class 

 was established, and, for the first time in the history of the School, students 

 were presented i'or examination in anatomy, and drawing from the antique, 

 in the year 1881. The life-class was conducted under great disadvantages, 

 and with limited success, one small room having to answer both for life-room 

 and modelling-room, and the students being required to pay the cost of their 

 own models. From this small beginning there have been considerable 

 developments in recent years ; and at the last examinations thirty successes 

 were obtained in drawing from antique and from life. 



Great difficulties have always been experiencel in carrying on the work 

 of the School, owing to lack of space, and the unsuitabiUty of the premise.s. 



