ENGLAND. 
123 
these three different elements exMbited but little unity, and were 
generally overladen. The best among them were perhaps those in 
which the old native forms had been imitated. The attempts at 
artistic flgure-painting did not rise perceptibly above the ordinary 
productions of amateurs. 1 
1 The Enr/lish Art-Educational Institution$ are very higlily spoken of in the 
Reports on the Exposition of 1867, which Prof. Langl alludes to on p. 119. 
Dr. A. Kornhuher, Professor at the Polytechnic Institute at Vienna, and 
member of the International Jury at Paris, 1867 (Class 90), says, in his “Report 
on Intermediate and Industrial Instruction” (Austrian Report on the Exposi 
tion, vol. vi. part xi. pp. 272, 273): — 
“ It is only since 1833 that the English Government has taken any part in 
education by extending its support to the People’s Schools; and in 1853 it 
created a special administrative ‘Science and Art Department.’ Branch- 
schools all over the country are connected with tliis department, among them 
ninety-two ‘ Schools of Art,’ which in 1865 were attended by 16,621 pupils, 
and in which instruction is given in drawing, painting, modeliing, and in com- 
posing original designs for manufacturing and decorative purposes, the in 
struction being intended more especially for the beneflt of the industrial 
classes. The Schools of Art also extend their instruction to the Elemeutary 
Schools, and 89,267 children partook of it in the year named. Night-classes 
have also been opened for those who are engaged in industrial pursuits during 
the day; and besides all this the excellent collection of the South Kensington 
Museum (administered by the Science and Art Department) serves as a central 
depöt of examples and copies which are put to practical use all over the coun 
try, as far as possible. . . . 
“ The ‘ Schools of Art ’ have proved to be very useful, and have been exceed- 
ingly beneficial in their influence upon the working population of England; 
for the instruction given in these sohools does not only make the artisans 
more skilful, but it also animates and enables them to improve old objects, 
and to discover new processes, and thus elevates their social Position, while 
increasing the producing power of the country. The usefulness of these 
schools is seen above all in the raanufacture of machinery, the notable prog- 
ress in which is mainly owing to them. The Art School at Birmingham gave 
an extraordinary impetus to the production of decorative furniture, of papier- 
mach<s; and to the mannfacture of jewelry; the school at Dundee (with 1,922 
pupils in 1865) influenced the jute-manufactories; the school at Paisley (exist- 
ing since 1848, and attended by 1,063 pupils in 1865) is of great use to the man 
nfacture of shawls; the one at Nottingham (established 1843) has raised the 
manufacture of lace by the introduction of better taste in the designs; the 
woollen manufactures are measurably beneflted, in designs as well as in dye- 
in°- by the Art Schools at Leeds, Huddersfield, Stroud, and Trowbridge (with 
together nearly 8,000 pupils in 1865); the Art School at Bradford (established 
1865) contributes to the improvement of taste in the manufacture of worsted 
goods; the Art Schools at Durham, Glasgow, Halifax, and Kidderminster 
exerci'sed the most beneflcial influence upon the manufacture of carpets, in 
design as well as in color; the cutlery of Sheffield owes its beauty of form and