INTKODUCTION. 
The universal importance of instruction in drawing was not fully recog- 
nized until the produets of the arts and industries of the various nations 
met each other at the World’s Fairs. It then beeame evident, that most 
raw materials receive their value in social interchange through form 
only; and that therefore the education of form, according to sesthetic prin- 
ciples, is the first condition for the successful development of industry, as 
well as for the elevation of taste in general. The first powerful impetus 
toward a reform in art-instruction was given at the London Exhibition 
of 1851, where the produets of industry from all parts of the world were 
brought together for the first time in an international tournament; and 
England herseif then proceeded, through the instrumentality of drawing- 
schools, to regulate taste, which had long been subject to caprice, in 
accordance with scientific maxims; to introduce uniformity into the 
treatment of the matter of form, and to give to its development a basis 
resting upon sesthetic principles. The industry of France, which until then 
had proceeded without principle in the matter of style, allowing itself to 
be swayed by external influences, and dazzling rather by the brilliancy 
of its manual dexterity than by virtue of its positive artistic merits, 
presently found that it must also enter into this reform, if it did not 
wish to see its productions seriously endangered in the markets of the 
world. For the example set by England vras followed by Austria, by 
Germany, in part at least, quite lately also by Russia; and everywhere 
these efforts were accompanied by the best results. And, simultaneously 
with the growth of art-instruction during the last decades, art-science 1 
1 Art-Science, the German “ Kunstwissenschaft,” is a word which has 
hardly been naturalized as yet in the English langnage. It embraces all that 
inay be known respecting art, —its -history and its philosophy, as well as its 
technical detail. Art-science, which is a creation of modern times, seeks to 
impart to the study of art as much of the method of the exact Sciences, as the 
nature of the case will perinit. It therefore proceeds empirically; and its 
activity, in searching through arehives to obtain documentary evidence con-