I.-INTRODUCTORY.

INDUSTRIAL ART DRAWING AT THE CENTENNIAL EXPOSITION.

In the plans of the organizers of the Centennial Exposition in Philadelphia in 1876 the comprehensive subject of education in all its branches could hardly escape some recognition. That its importance was not fully appreciated, or at least that the value of so grouping the educa tional exhibits as to afford an opportunity of seeing and considering the whole subject in its entirety, with the due relations of its different parts; such an exhibition of education as was given of agriculture, or of machinery, for instance, was not provided for, was painfully evident to all who at the Centennial, desired to study this subject.

Such students of education found themselves obliged to search for the several educational exhibitions, which were scattered all over the "main building," hidden away in the galleries and out of the way places, and then, in order to complete their observations, to go to the United States Government building and to the Pennsylvania school building. In this building, the enterprising State superintendent of education, Hon. J. P. Wickersham, had arranged a most admirable and effective showing of the school system of Pennsylvania, with plans of school buildings, articles of school furniture and apparatus, tables of school statistics, and examples of scholars' work. This comprehensive showing of the system of a single State, emphatically illustrated what the education exhibit of all the United States might have been, if treated as a whole, and properly arranged and displayed together in one building. Whatever may have been lacking in the provision of proper accommodations for the school and other educational exhibitions, there was no lack of enthusiastic effort at preparation on the part of the educators, who manifested much interest and made earnest endeavors to do whatever was possible. At a somewhat late day the Centennial Commission designated the National Bureau of Education at Washington, to act as a central agency for the educational department of the Exposition. Commissioner Eaton issued a sheet of information.

The department of superintendence of the National Educational Association had already, in January, 1875, appointed an executive committee to act in co-operation with the Bureau of Education.

In evidence of the interest taken by educators generally may be cited the fact that the issue for July 10, 1875, of that leading educational organ, the New England Journal of Education, was headed "Education at the Centennial," and contained a general plan of the exhibition, with cuts of all the large buildings, the announcement by Commissioner Eaton of what had been done and was in preparation for the exhibition, with the programme of the exhibition relating to education and science, eleven classes; also the following articles, written with a view to stimulate and aid the preparation of educational exhibits, viz: "PubS. Ex. 209-40

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lic schools at the Philadelphia Exposition," by Hon. J. D. Philbrick, Boston; "Colleges at the Exposition," by J. M. Gregory, LL. D., Illinois; "Art education at the Exposition," by Walter Smith, Boston; "The century's educational record," by Rev. J. C. Stockbridge, D. D.; "Shall our school exhibition be a success?" by Hon. J. P. Wickersham, Pennsylvania; "National expositions, schools for the people," by Baron von Schwarz-Senborn, Austrian minister to the United States and director general Vienna Exposition; "Work for American educators; practical suggestions respecting the preparation of material for the exhibition of American education at the International Centennial Exposition at Philadelphia in 1876," by the executive committee of the National Educational Association.

When the exhibition at Philadelphia was opened, it was found that the subject of industrial art drawing was carefully and fully illustrated, by the exhibition in the gallery appropriated to them, in the main building, of examples of the work done in the Normal Art School and the public schools of the State, as shown by the Massachusetts school authorities. Besides this comprehensive showing of the working of a complete State system, there were many other similar collections of drawings by school children shown by the school authorities of towns and cities of other States; but these last were necessarily scattered in different places with the several educational exhibits, as has been stated, so that it was only possible to see them singly.

In the report by the late Mr. Stetson, which follows, the reader will have the opportunity of getting the results of such a comprehensive view, and of such special studies, as could only be actually had at the exposition by giving to the task much time and patience.

Few of those who visited the exposition were so well qualified to make an intelligent study of these several exhibitions as was the accomplished author of this report.

I have taken from the papers referred to, as published in the New England Journal of Education, such extracts only as were more directly connected with the preparation for the showing of school work in drawing; a class of school work particularly fitted to be shown in the "main building," because this elementary study of industrial art drawing, being essential in the training of all art workers, was directly related to the countless works there displayed; most of which, in themselves, strikingly illustrated the charming results of the skilful application of art to various industries.

These extracts show also, the preparation which was made for the several drawing exhibits, which will be found critically considered in the report by Mr. Stetson, which immediately follows; these two parts of this Appendix E are thus related, as showing the preparation for, and the result attained by, the exhibition of industrial art drawing at the Centennial; while the account, taken from the "American Architect and Building News," of the work shown in the women's pavilion by the Cincinnati Carving School, describes the results attained by the direct application of the kind of knowledge and skill, which is to be acquired by elementary school training in industrial art drawing.

An unexpected addition is now to be made to this Appendix as, while this volume is in the hands of the printer, I am indebted to the courtesy of Mr. John S. Clark, of the Prang Educational Company of Boston, Mass., for a manuscript copy of the valuable report upon the present status of drawing in the public schools of the country, made to the department of art at the meeting of the National Educational Associa

tion, held at Madison, Wis., in July, 1884; by the committee appointed at the previous annual meeting of the convention in Saratoga, 1883, to prepare such a report. The names of the committee were a guarantee that their work would be thorough and intelligent. The chairmau, Superintendent MacAlister, of Philadelphia, had, as superintendent of the schools of Milwaukee, been among the earliest of American educators to introduce and approve the system of Walter Smith. Miss Locke, the secretary of the committee, now supervisor of drawing in Saint Louis, Mo., had been an early and favorite pupil at the Massachusetts State Normal Art School, and had displayed her qualities as a teacher when in charge of the drawing department in the Maryland Normal School, as elsewhere recorded in this volume.

The name of Superintendent Goodnough, of Columbus, Ohio, has become familiar to all interested in this subject, while Mr. Otto Fuchs, principal of the Maryland Institute, was long one of the chief instructors of the Massachusetts Normal Art School.

These names frequently appear in the volumes of Part I and II of this Report, in connection with the general subject; as well as in the accounts of the institutions with which they are particularly connected.

Aware of the intention of this committee to make a searching investigation into the present actual condition of the teaching of drawing in the public and normal schools throughout the United States, I have been glad, in the pressure of the preparation of this present Report, to know that this branch of the subject was in such competent hands and have hoped to be able to make use of their results; as I now do, through the courtesy of Mr. Clark.

As their review and comments upon the methods of school work, follows the plan of that of the late Mr. Stetson in his review of the results of such work, as shown at the Centennial, I have grouped the two reports in the same Appendix; a comparative study of the two may not be devoid of interest. In the "outlines for a course of study suggested, which follow the report, the influence of the movement towards manual training, and a more direct practical application of the elementary knowledge of drawing, often heretofore referred to, is very apparent. A certain logical form of statement is attained and the general purpose of each course clearly stated. A study of the programmes prepared by Professor Smith, as given in Appendix "D," will be of interest in connection with these plans; his plan of study for the Normal Art School accompanies the account of the Massachusetts State Normal Art School in the body of this report Part I.

It will be seen that this committee have not hesitated to speak plainly of such deficiencies as they have found. In so doing, granting that they are correct in their facts, they are fully justified. If universal training in industrial art drawing is capable of the usefulness which its advocates claim, it is certainly a wrong to the community, when in any instance, they are, as this committee affirms is now very often the case, imposed upon by a mere pretense. In case of an attempt to introduce. a new study the wrong thus inflicted is aggravated; for the experiment is vitiated from the beginning, and no good results are possible.

On this subject the members of this committee have an undoubted right to speak authoritatively, as had Professor Smith, because they each know whereof they affirm.

Whatever may be thought of the criticisms, or of the plans of study embodied in the report of this committee; it is certain that their concluding recommendations must commend themselves to all thoughtful educators.

In connection with the suggested plan for the public school courses in drawing, as outlined by the committee of the National Education Association, the account of the plan of elementary training in drawing adopted by the Belgian authorities in 1879, as given before the recent International Educational Conference at the Health Exhibition held in London in the summer of 1884, will be found of interest as showing, not only the methods adopted, but also as stating the purpose kept in view in giving the training; the early age at which these studies are begun is also suggestive. The condensed summary of this address is from the report as given in "The Schoolmaster," August 2, 1884.

II.-PREPARATION FOR THE CENTENNIAL.

(a.) ART-EDUCATION AT THE EXPOSITION.

[By Walter Smith, Boston.]

There is, perhaps, no division of the subject of education capable of being more usefully and systematically displayed than that of art, whilst at the same time none can be made more confusing and misleading to the ordinary spectator by bad arrangements or by the associating together of exercises unlike in their origin and object. Every international exhibition has been wanting in the element of arrangement, by which the art education of different nationalities could be fairly compared. That in Paris in 1867, the best planned exhibition yet held, ignored the importance to the world of a just comparison and analysis of the instruction lying at the base of successful industrial art, for it has come to be acknowledged that drawing occupies no less important a position.

There is an opportunity at Philadelphia, therefore, for securing at least one original feature in an international exhibition unless the allotment of space has been already made in a manner to render this impossible, which it is seriously hoped may not be the case.

THE INDUSTRIAL ART DRAWINGS TO BE LOOKED AT AS ILLUSTRATING A SYSTEM.

The great difference between a display of works of art and exercises in educational art is, that each picture, statue, or architectural design is complete in itself, whilst the chief interest of the school exhibitions is the arrangement of studies and grading of subjects to display a system or scheme of instruction. This takes away the importance of and even the interest in individual works, for the skill displayed in individual drawings or exercises does not affect the greater question of system or arrangement, though it may increase the attractiveness of the show to the sight-seer.

Ordinary school exhibitions of drawings are nearly worthless, because, ignoring this distinction, each work is made to appeal for approbation, as if it were a work of art (which it seldom can be), to be judged on its merits alone; and thus there is only a display of monotonous and childish imperfection instead of a chain of interesting progressive work, in which each drawing occupies a subordinate, though necessary, position. It cannot be too clearly recognized that the motive for exhibiting works of art should be to display attainments, whilst the object of school exhibition should be to demonstrate the aims sought, and these do not depend on the achievement of any one or even all the drawings.

NO NATIONAL SYSTEM OF ART EDUCATION EXISTS AS YET.

The subject of art-education is receiving much attention from educators just now, and many who have either a limited experience, or strong sympathies, are loud in their praise or condemnation of French, English, or German systems or methods. It may be as well, therefore, to state that no European country has yet laid down a comprehensive programme of instruction in art for its publie schools of all grades. A national system of art-education does not yet exist, and that which is so described will turn out, on examination, to be either the experience of private or disjointed bodies or the curricula of special and technical schools, carried on, it may be, under the auspices or encouragement of governments, but having no pretensions to be graded and comprehensive in the way that general education may be so described, proceeding in regular order from the infant school to the university.

This makes it the more necessary that, in arranging and examining the contents of the art-educational section of the coming exhibition, distinction between the different classes of work should be strictly preserved, and their presentment be thoroughly explanatory, giving all needed information concerning them. If one celebrated French school were to display remarkable drawings, the work of adults or skilled workmen employed in ateliers, and this display could be mistaken for the exercises of children in the public day schools, or be liable to be compared with such exercises sent from other countries, the only result would be to mislead and confuse the public