AMERICAN PREFACE. 
xxxvii 
To show this has been the main object of the discussion thus far. 
It might also be easily shown that this knowledge, and the disc'i- 
pline whieh comes with the effbrt to acquire it, form an essential 
element of general culture, an element obtainable' from no other 
study, an element which, if one Jacks, he cannot be said to have 
been symmetrically trained. Indeed, until this element is added, 
our public education must continue, as it is, emphatically lop- 
sided, not only from the industrial, but from the culture point of 
view. But this is a matter, which, important as it is, need not be 
considered at the present time. 
The second objection will come from those who look upon art as 
something peculiarly divine. They are shocked when one talks of 
making art contribute to the daily wages of the artisan, to the 
volume of trade, to national prosperity, and the sinews of war. 
They believe that the decided industrial tendency which art-edu- 
cation is taking in this country will prove destructive to all the 
higher manifestations of art; that a people once taught to make 
beautiful calico prints, shoes, table-ware, furniture, will be Con 
tent to do nothing more. They also believe that instruction in 
neither industrial nor fine art can be reduced to fixed principles and 
methods, and so believe that art cannot be taught in schools as 
other things are taught. Consequently they take delight in telling 
how impossible it is to do wliat the great masters have done, 
instead of attempting to show how the great masters actually went 
to work to secure their wonderful results. 1 It will be proper to 
answer these objectors, — to show that there is no antagonism, but 
the reverse, between industrial art and fine art, and that each 
rests upon a mass of definite, teachable facts and principles, many 
of which they have in common. 
i “ The lectures to the public are given from a different standpoint than 
that adopted by many of our lecturers on art and its technies. Tn Vienna the 
lecturer ainis to show the young aspirant how to make a beginning, and how 
to progress upward in the study of the fine arts; while here lecturers who 
attempt to discourse upon art and artists generally strive to show how impos- 
sible it is for any one to reach the height attained by the masters of old, thus 
chilling the wakening enthusiasm of their heai’ers, among whom, perhaps, 
may be soine who would have liked to make an effort to acquire art skill and 
knowledge for themselves.” —From the special report made by Louis J. Hinion, 
who attended the Vienna Exposition, to the State of Massachusetts, on“ Museums 
of Art and Industry.”