FINE ARTS.

DISORGANIZED STATE OF THE SCHOOL OF DESIGN.

FROM a brief mention in our last number, it would be perceived that the School of Design remains in a disorganized state, and that no decision has yet been pronounced upon it by the Board of Trade. The case is a la- mentable instance of mismanagement.

It has been so from the first, though its progress has been one from bad to worse. The very object and influence of a School of Design were not understood by its early official fosterers. Attempts were made to exclude from it all young students who might afterwards become artists; though the artistic spirit is the very thing that is wanted among our handicraft designers. All the greatest artists of the middle ages designed for handi- crafts; in the endless scale between a Raphael and the designer of a queen's- metal spoon, there is no point at which you can definitely draw a line be- tween the artist and the mechanic; even the journeyman artisan would work the better for having had in the ardour of his youth some ambition to be a painter and some companionship with artists. But the wonderful fact is, that although this school was to be, not a mere drawing-school, but exclusively one for teaching how to design patterns, it has actually become a mere drawing-school, and the teaching of pattern-design is absolutely omitted!

After some attempts to establish the school under inferior teachers, it was placed, in 1837, under the care of Mr. Papworth. At his death Mr. Dyce was appointed Director, and Mr. Herbert ohief Master. Even under Mr. Dyee, one of the ablest and most learned designers of the day, there were complaints of defective organization; and a change was made, the effect of which was that Mr. Dyce resigned his post, and was succeeded by Mr. Wilson. It was also discovered that Mr. Herbert was too much of an artist, and he withdrew. The subsequent history of the School is one of anarchy and decline. The class of Design has ceased to exist; a number of pupils, who complained that they could not obtain from the Director the instruction promised by the Government, have been ejected; the Director has been the object of continual censure by the masters placed under him; and while all his accusers rest their statements on facts of the most sub- stantial, unequivocal, and striking character, Mr. Wilson's defence resolves itself into passive resistance, into strange quibbling sophistries about the nature of the very thing that he is appointed to teach, and the collection of testimonials from provincial masters under his own direction! Such has become the condition of the School, through a gradual process which has been going on for years; but the facts are so very remarkable, the broad result is so incredible without precise evidence, that we must look into the details. We collect them from the Report of a Special Committee appointed by the Managing Council of the School, to investigate the complaints. The Committee took evidence, received documents, and reported the whole to the Council; and the Report has been presented to Parliament in the form, of a blue book.

The original purpose of the School is very distinctly enunciated in It Minute of the Council, quoted in the Report of the Committee-

" Though this School to a certain extent occupies common ground with ordi- nary drawing-schools, it has beyond this a specific purpose, from which in fact, it i derives its name. it is termed a School of Design, not a School of Drawing. The acquisition of skill in drawing is only a preliminary step to the real business of the School, which is to teach the art of designing ornament, both in respect to its general principles and its specific application to manufacture." The facts shown in evidence are, that in reality the School is a school of drawing and not a school of design; that its Director is so mistaken in

the conception of his duties, or so incompetent, that virtually the School is without a director—it has merely an obstructor; that discontent pervades every part of it—pupils, masters, and Managing Council; and that under the influence of these drawbacks, after having been in existence about ten years without turning out any designer whom it could claim to have formed, it is positively dying of inanition.

The fact that it is no school of design, is proved by the chief Masters— Mr. Horsley, the teacher of the Human Figure; Mr. Townsend, the teacher of Modelling; and Mr. Richardson, an architect, the teacher of Elementary and Geometrical Drawing. The other Masters are, Mr. Le- jeune and Mr. Stevens, who teach in the Morning School—a su‘sordinate section; Mr. Stevens being, we believe, a personal connexion of the Di- rector. We quote from the Masters-

" We have at the present moment, in the very head' department of all the Schools, a School of Design without a bona fide class of Design. The highest

objects pointed out in the previous blue books, such as the Lectures on Orna- ment,' the ' Practicability of Design,' and the direct and intimate union of work- ing process with theoretic art, are now totally disregarded."—Mr. Townsend's Memorial, p. 21. " You want a class of original design, which is not in the School at all. You teach the figure to a certain extent, but there is no application of the figure as a mode of ornament. There is at present no class of Design. The School has been ten years in operation' but I do not think there is a single student who is taught design in the School: he is taught drawing, but not design."—Mr. Redgraves Evidence, p. 40. " The real principles of design, which, as a man of business, I know must be taught the young designer, we are not allowed to teach."—Mr. Richardson's Evidence, p. 83.

" Our School has been for the last year a mere drawing-school, and in no way a school of design."—Mr. Horsky's Evidence, p. 78.

When a change of system was contemplated, in 1843 we think, the Council set forth the duties which the Director was expected to perform, in these terms.

" To teach the first class. [This, it will be perceived, is the class of Design.] "To give lectures upon the history, principles, and styles of Ornamental Art,

and also especial explanatory lectures upon the particular designs in progress. "To prepare a syllabus of such lectures, for the instruction and use of the Mas-

ters in the Provincial Schools.

"To make original drawings and designs for the School, and to superintend the making of others of the same description, by the first class."

Mr. Dyce declined to devote his time so entirely as the programme of duties would have required, and we believe he also expressed doubts as to

his own competency: Mr. Wilson, then employed in the School under the

Board of Manufactures in Edinburgh, entertained no such scruples, and he accepted the duties which Mr. Dyce thought too onerous. Mr. Wilson ex-

pressly recognizes his principal duty. In his letter to Mr. Horsley, (p. I6,) he says, " my chief charge is the highest class, that of Ornamental De- sign "; and, writing to Mr. Townsend, he enumerates his own duties, among them, "to teach the classes of Practical Design." (P. 14.) The Director has never performed these duties. He was, says Mr. Bel- lenden Kerr, one of the Council, "to prepare drawings and original designs for the use of the pupils, and to give courses of lectures: no designs have been made, nor has any course of lectures been given." " During my mas- tership," says Mr. Townsend, " a period of more than two years and a half, not a syllable of a lecture has been uttered by that gentleman in the Evening School, [the chief school,] to my knowledge." Mr. Horsley says, " not one of these duties has been performed, neither has any attempt been made to perform them."

But it is in his viva voce evidence that Mr. Wilson exhibits the most extraordinary views of his own duties. In the passages extracted below, it will be perceived, he makes these declarations,—namely, that he has taught a class of Original Design; that there is now no class to teach, the school not being in case to furnish pupils for the first class; that he does not teach the class Original Design, but only copying other designs; that design ought not to bo taught, but ought to be the result of the education bestowed in the School of Design; that he would teach original design if he had pupils; and that it is impossible to teach original design. MR. BSLLENDEN Knutt—" I observe that there is a class of Practical Orna- mental Design in your programme, and I observe in the statement of the duties

of the Masters that you reserve to yourself the teaching of that class: have you taught that class during the last three months in the Evening School?"—" No; because no such class then existed, nor does exist at the present moment. "Have you been in the Evening School the last three mostha?"—"No." (P. 101.)

"You said that no Master should preside over any class of original composition, and that when a pupil had passed through the whole course of education, ha should then make original designs: Ton do not mean to say that making original designs is no part of his education? —" I think that doing so ought to be the result of his education."

" Then would you have him make original designs in the School, not under the presidency of any master?"—" Not under the presidency of any master." " Then, what would be the use of his making them in the School ? might he not as well make them out of the School?"—" 1 should prefer his making them in the SchooL"

"If the master is not to teach him, or to admonish him, why should he ands* them in the School?"—" Because he would have an opportunity of seeing a great many beautiful things in the School, by which he would be surrounded; and he

would enjoy conveniencies and accommodation which he might be unable to com- mand at home; and if poor, I would assist him with matenals, and we should be ewe that the pupils executed the design." " Then he would not be a pupil in the School?"—" He might be called a pupil in the School."

"What is that practical design which you reserve to yourself the power of teaching? is it original composition ?"—"If the Committee had examined me upon all these subjects seriatim, I should have been able to explain better." "(To Sir Richard Westmacott)—Do you teach original design in the Royal Academy ?"—" We do not." • • • " But [continues Mr. Kerr] you think that we ought to teach original design." Sir Richard Westmacott—" Certainly." (P. 102.)

"Do you in the School teach by yourself, or your deputies, any class of De- sign?"—I have done so myself, and have been aided by my colleagues."

To Mr. Wilson—" According to the present routine of the School, is there in the School, morning or evening, any class of Design?"—" There is no class of De- sign at this moment, because, in my judgment, as Director, there is no pupil fitted to study design, according to the views which I take." "If there were pupils, according to your judgment, fitted to study design, and to enter the class No. I., what would you teach them there?"—" I should, in obedi- ence to my instructions, to the best of my ability, try to teach them design." " What do you mean by 'teaching them design?' do you mean original design?" —"I should call upon them to make designs; and I should make observations upon those designs in the course of their progress, recommending to the pupil alterations and improvements, to the best of my judgment and ability." " Is not that what in common parlance would be called teaching original de- sign?"—" I object altogether to the term teaching original design. , " What would you call the teaching of class number one, which you say if you bad competent pupils you should teach, but composition and original invention!' —"I invite the pupil to design. I should like the invention to be his completely; but it being supposed that my knowledge of design is greater than his, I should give him advice with reference to the forms of his design." * • * " Would you strike out that class in remodelling the prospectus?"—" I would." " Then you would strike out all teaching original design in the School?"- "I would."

" I observe that you reserve to yourself the teaching of practical design: when do you teach it ?"—" Whenever we have students engaged in making designs, I take charge of them."

" Have you within the last four months ascertained whether there are in the Evening School any students fit to be put into that class ?"—" To my knowledge there are not."

" How can you have that knowledge if you have not been in the School? "— " Because I know all that they can do."

" Without having been in the School in the last four months, you are quite convinced that there is no person fit to be taught that practical design which you reserve to yourself the right of teaching? " [No answer' apparently.]

" As you conceive that the principles of design ought constantly to be taught to the persons attending the Evening School, by whom during the last four months have those principles of design been taught which ought to go band in hand with the elements of design? "—" I conceive it to be the duty of the Masters to do that."

" Are you aware whether that has been done? "— I believe that, to the best of their ability, the Masters do it." " But during the last four months you have had no means of knowing whether that has been done? "—" No."

" Then the School, as far as regards that part, has been entirely without your assistance ?"—" Yes."

" But previously to last October you attended the School for the purpose of so teaching ?"—" I attended the School for three nights every week, for the purpose of performing my duty as Director of the School.

For the purpose of teaching original design ? "—" If I had pupils." " Yon have stated that you thought that the principles of practical design

should be taught in every class and at every step? "—" Certainly, by the Masters." " But you have no means of knowing that they have so taught them?"—" No." "You yourself in teaching the class of Original Design, as you have done, con- ceive that you are competent ?"—" No, I never thought so." (P. 117.) "You stated that you did not think it would be expedient or even possible to teach original design."—" That is my opinion: to teach invention is utterly im- possible." (P. 117.) "Yon stated that you do not think that the conditions of art as applied to manufactures can be taught in the School? "—" I am quite sure of it." "What means have the pupils, if not taught in the School, of becoming ac- quainted with those conditions? "—" Nons whatever." (P. 119.) "You have stated that you do not consider yourself competent to give instruc- tion in original design ?"—" I have: because I take such very high ground upon that subject. There are few artists in the world who I would say are competent to guide in this way, estimating the words original design' as they appear to be understood in my examination. I do not admit that original design can be taught al all." (P. 126.)

It is useless to multiply instances of this quibbling and confusion : we might recopy the whole evidence. The question that naturally arises from the perusal of it is, what can be the reason of Mr. Wilson's extraor- dinary position as Director of a School of Design in which he does not teach design? The only reason that appears for his being there is the salary of 4001. a year; the only conjecture as to the reason of his not teaching design is, that he is not competent. But if so, he shields his in- competency in the most effectual manner: he avoids criticism on his per- formances—by not performing at all! The testimony of the Masters on this point is painfully humiliating. Mr. Horsley says-

" I imagine that Mr Wilson himself does not claim any great position as an artist. At the same time, this would not prevent him from possessing a consider able amount of knowledge of ornament, and great skill in imparting that know- ledge: and he may have this power; but what I complain of is, that we should have

no opportunity of knowing whether he it or not, and that the students are not benefited by having that know edge (if possessed) imparted to them." (P. 79.) The evidence of the other Masters contains similar intimations. Mr. Wilson had placed himself in such a position, that usage among gentlemen would seem to require, either that he should resign, or that he should cause the Masters to be dismissed: they are not dismissed, and he is still Director.

A distressing contrast to the position of Mr. Wilson is that of Mrs. M'Ian, the teacher of the Female School. Mr. Wilson is asked-

" Does she .profess to do anything beyond teaching drawing and painting ?"— " Various designs have been made in the Female School."

"Original designs?"—" Original designs." "Then she must be said to teach or to superintend the production of original designs ?"—" She superintends the production of these."

Mrs. M'Ian therefore did what Mr. Wilson pronounces to be impossible. Indeed, it is notorious that the female pupils exhibited a decided superiority over the male pupils in this respect.

But, again it will be asked, how is it possible that the School can have been made the toy of such an officer? where was the governing body— where Mr. Wilson's official superior? And here we come to the root of

the evil. The School is governed by a numerous and honorary board of dilettanti and artists, called a "Council," and appointed under the Board of Trade. Up to a recent period, there were twenty members—Lord Ash- burton, Mr. Blore, the Honourable H. Cholmondely, Mr. Cockerel], Lord Colborne (Chairman), Mr. Etty, Mr. J. R. Gardiner, Mr. T. F. Gibson, Mr. W. R. Hamilton, Mr. Hawes, Mr. T. Hope, Sir Robert Inglis, Mr. La- bouchere, Mr. John Lefevre, Mr. Monekton Milnes, Mr. Apsley Pellatt, Mr. George Richmond, Sir Richard Westmacott, and Mr. Thomas Wyse. The assiduity of the Board may be inferred from the attendance in the three years ending 1846, of which a table has been published. There were eleven ordinary monthly meetings in each year, and twelve special meetings in three years. As to the ordinary meetings, two members never attended; one attended once; two more attended three times; not one at- tended every time; the average number of times that the members attended throughout the three years was 11 4-20ths, or less than four times a year. The average number of members that attended at ordinary meetings was 10 in 1844, 8 in 1845, and 7 in 1846; at the twelve special meetings the average number in attendance was 9. Disgusted probably at the ineffi- ciency of the system in which they were involved, five of the members have resigned,—Mr. Labonchere, (who had never attended,) Lord Colborne, Mr. Etty, Mr. Cockerel!, and Mr. Hamilton.

The bad working was so apparent that the whole management of the School became the subject of an inquiry—by the Council itself; and sub- sequently a Committee of the Council suggested a modification of the ma nagemeut. It was in substance, that a "Committee of Instruction," to consist of five members, and to include three artists, should be selected from the Council to manage the School; that the functions of the Director should be limited to general superintendence and management; that he should be aided by a Secretary; and that the tuition, whether by lectures or practical instruction, should be conducted by the Masters, now to be called "Professors "; with a new curriculum. This recommendation has lain before the Board of Trade for some time, and still awaits a de- cision. The change would be an improvement, as it would concentrate the chief management; but, in truth, something much more decisive is re- quired. The honorary and dilettante management should be entirely swept away; the incompetent person who has stopped up the place of Director should be removed to some employment more congenial to his facul- ties natural and acquired; and the superintendence of the School and its branches should be placed under a thoroughly competent, a well-paid, and responsible officer. The taste for ornamental design, the want of which was the opprobrium of our handicrafts and manufactures, been aroused in this country; and unless the official School of Design takes the lead in develop- ing that new addition to the resources of our industry, it is not worth the money that its machinery costs. It is miserable to see a public department for teaching " design " thus the sport of evasive quibbling about the mean- ing of the word " design." The prostitution of public departments is no novelty: no sooner is the attempt made to supply some public want than the machinery for the purpose becomes the object of greedy place-hunting and a preserve of patronage; but of all instances the one before us is the most flagrant. The whole system needs a thorough reconstruction; and while that obvious duty is neglected by the department responsible to the public, the Board of Trade, the Ministers of that department are obnoxious to severe censure.