mind and plant wrong impressions concerning the value of systems or schemes of instruction.

It is problematical whether any European country will seek to exhibit more than the studies of its great schools of art, and, before we humble ourselves in abasement at the glorious spectacle, let us remember that up to the present time this country has had no opportunity of producing works of a similar character. If Cologne Cathedral or Westminster Abbey were to be placed in the exhibition ground, it would not be quite a fair comparison to place beside them a wooden New England meeting-house, though our architects might learn much from the abbey and the cathedral. The needs which produced the two classes of edifices were as different as the structures themselves, and these having passed away, and being at first incomparable, it would be folly to compare the buildings.

HOW TO GROUP THE DRAWING EXHIBITS.

In order to maintain a distinction between the several classes of work likely to be displayed, they may be thus grouped in three grades:

First grade. Exercises of pupils in schools for general education --elementary drawing.

Second grade. Exercises of pupils in special or technical schools of art or scienceindustrial drawing.

Third grade. Exercises of pupils in professional schools of fine art.

To illustrate this grading, the exhibition of the class exercises of the Boston day schools, recently held in Horticultural Hall, or that of the Newton public school, would come under the head of first grade; the works displayed from the free industrial classes for adults, and of the Lowell class of Design, would be classed as of second grade, and if the Ecole des Beaux Arts or English Royal Academy exhibited its works, they would be of the third grade.

It will be seen that there is of necessity a great difference between the character of work displayed by any two of these three grades, and usually as much variety in the ages of the pupils-no two can be compared together, though they may be contrasted, but it will be found of the utmost value if work in each grade, from every country represented, could be carefully compared and comprehensively reported on by competent judges. The opportunity is one which has never before occurred in this country and will not occur again during the lives of those among us who are men now. It has never been properly utilized in former international exhibitions, and in none has it been of so much importance as this. At present this country offers few, if any, opportunities for the attainment in the highest skill in constructive industry, and the student who aspires to become a professional artist has to become a European exile. The remedy for both of these misfortunes, for they are nothing less, is the establishing, in the first place, of a sound and scholarlike scheme of industrial education in the public schools of every State in the Union, and finally the development of technical schools, academies, and museums and galleries of industrial and fine art masterpieces. The duty of all persons who are interested in the advancement of education is to cooperate with the Centennial managers, and show what they are trying to do, whether they attain it or not. No one person or no one State monopolizes wisdom and experience in any branch of education and could all the best work of each; be gathered together in one place and be displayed alongside of the best of the same grade sent by every European country, it would create for us an Industrial Art University which would inevitably graduate a large class of accomplished students and critics during the Centennial year.

The fact that we do not consider our work perfect should not prevent our exhibiting our aims and whatever results they have already produced; for it will be impossible that an intelligent person can examine a collection of even imperfect specimens without learning a great deal, whereas if every State, city, or school should wait for perfection in results before displaying its efforts in that direction, there could never be an opportunity of learning from the experience of others.

Many cities and States are ready to do something in the direction of industrial education if they see their way clear to attain even moderate success, but some have tried only to fail and receive discouragement, and are now in a condition of expectancy waiting for others to solve the difficulty, and when the way becomes manifest they will join in the onward movement.

The opportunity, which can be secured if all coöperate in making a complete representation of the educational department, will be of the highest value to educators in every city, town, or village. It may, however, become necessary that, for the sake of uniformity of arrangement, many cities may have to combine in one common exhibit, or that all the cities in a State be classed in a group, each showing its special method. The great thing to secure is perfect clearness and understanding of what the works exhibited are, as well as what grade they belong to, and then we may expect a definite and valuable contribution to a correct public opinion on this subject. (New England Journal of Education, July 10, pp. 18 and 19.)

(b.) NATIONAL EXPOSITIONS, SCHOOLS FOR THE PEOPLE.

[By Baron von Schwarz-Senborn, Austrian minister to the United States, and director-, general Vienna Exposition.]

I think the time not far distant when every child in Austria will not only be compelled to learn reading and writing in the primary schools, but also, at the same time, drawing. Thus have we provided for the youth, but what must be done for those grown children, the adults, in Austria, who have learned little or nothing? They did not have such large opportunities of schooling as their children now enjoy. A man thirty or forty years of age cannot go to school, but he can be instructed by eyesight or object teaching, such as is afforded by the exhibitors and other similar means. One of those means I first referred to is traveling. What is travel? Travel is education. You learn many things in traveling by observation. You are taught in that way. Therefore this is object teaching.

ner.

A great savant, Professor Ficrhow, made a very interesting, and a very accurate remark, which applies here. He said that "nothing which comes through your eyes into your head ever goes out." And so say I. The impressions which we obtain by the sense of sight affect the brain and change our views in the most favorable manThis was the meaning; and the man who has traveled a great deal will have his intellectual faculties greatly improved. We observed in Austria, as well as in other parts of Europe, another striking effect of these exhibitions. They improve in a remarkable way the public taste. The taste in former times in Austria was a bad one. The people had not seen examples of tasteful and beautiful productions. They had, therefore, no artistic judgment. They had no museums and schools for applying fine arts to industry, for improving and correcting their taste, and for thus giving them the right ideas of the beautiful. The consequence was that in their buildings, furniture, and other things of common life no taste was shown. But now, within a few years, and especially since the Universal Exposition and the establishment of museums and schools, there has been a remarkable improvement in this respect. The same may be said of England. Every one who visited England on the occasion of the London Exhibition in 1851 will remember that, although the English manufactured articles were very cheap, useful, and of the best quality, yet the taste displayed therein was awful. And now the English have, as a consequence of that exhibition, immensely improved in their taste; and in the Vienna Exhibition of 1873 we saw new evidence of this fact. Allow me to say that, as a sincere friend should speak the truth; and that as a sincere friend of America, who has the greatest sympathy for its people, in whose country I have learned since my short stay of six months a great deal, and where I hope to learn much more, it is my duty to say to them, in all truth and candor, that their public taste is in the same awful condition as was the public taste in England before their great exhibition of 1851.

I am sure that the public taste in America can be improved to as great a degree within as short a time after the exposition of 1876 as that of England was improved after the London Exhibition of 1851. I attach, therefore, immense importance to the cultivation of the fine arts as the means of refining the feelings of every man, and thereby improving the public taste. And I think this most desirable result will be attained among other valuable ones by the approaching International Exposition in Philadelphia in 1876. (New England Journal of Education, July 10, 1875.)

(c.) PRACTICAL SUGGESTIONS RESPECTING THE PREPARATION OF MATERIAL.

SCHOLARS' WORK.

This is an extremely important division of the educational exhibition, though, with the exception of drawing, it is not showy in its character.

It is not any easy task to arrange a satisfactory scheme, nor will it be easy to carry out the best arranged plan. Much must be left to the taste, judgment, invention, and fidelity of teachers. Although the results of instruction belong to mind, yet they are in a great degree capable of ocular representation, and all written examinations are based upon that presumption.

And upon a little reflection it will be perceived that the scope of this division is very large. It comprises every exercise and performance that is susceptible of a graphic representation-all the work of the pen and pencil, and, in addition, mechan

ical constructions and productions, modelings and carvings, whether imitations or original designs. It is essential that each exhibit should be just what it purports to be, and each collection of papers bound up together, or in any way arranged in a set, and each separate individual paper or production should carry on its face a distinct indication of the facts as to its execution necessary to judge of its merits-such as the grade or kind of institution or school, the class in the institution or school, first draught or copy, time allowed, age and sex of pupils doing the work, selected specimens or work of entire class, general examination or exercise in review, or a regular lesson with usual time of preparation, date of performance, copy or original design, in drawing from flat or round, whether done with reference to the exhibition or taken from ordinary routine work the county or State, with the town or city. It is obvious that productions without the indication of the essential facts as to their execution have little or no value for purposes of comparison, and therefore for the purposes of an instructive exhibition.

It is hardly necessary to attempt an exhaustive enumeration in detail of all descriptions of scholars' work which might be useful for exhibition. The limits of this programme will permit only the most essential suggestions and directions.

KINDERGÄRTEN WORK AND THE WORK OF PUPILS IN KINDERGÄRTEN TRAININGSCHOOLS.

As it is desirable to encourage female handiwork in school, it is hoped that specimens of both plain and ornamental will be contributed. The smaller articles may be conveniently arranged for exhibition in large portfolios with card-board leaves; larger ones may be placed in vertical or horizontal show cases. If girls have learned in such school to cut and make their own dresses, samples should be sent.

Primary school slates, with printing, writing, Arabic and Roman figures, drawing and musical notes, done by classes of pupils, put up like drawers in a rack made for the purpose, twelve in a rack.

Writing books completed, attached together in volumes, of all grades. Specimens of writing should be written on paper of the size and shape of an ordinary writingbook leaf, unruled, ruled by hand, or machine ruled to the purpose, and neatly bound, the work of a school or class in a volume; individual specimens on larger paper of ornamental penmanship, for portfolios or framed for wall exhibition.

Drawing books, completed, attached in volumes; drawings bound in volumes and in portfolios, also specimens for wall exhibition; portfolio of two or three specimens, different kinds, free-hand, geometrical, &c., of each grade of a public school course, from the lowest primary class to the highest in the secondary or high school.

The drawing from industrial classes, schools of design, technological schools of different kinds, and schools of fine arts will doubtless constitute one of the most attractive and useful features of the exhibition. Contributions illustrating the courses in drawing and the results attained in each institution of the above classes are desired.. They should be loose in portfolios, from which selections may be made for wall display on an extensive scale.

Models of bridges and other engineering projects and designs; models of building construction; specimens of carving and modeling in clay; samples of the productions of machine shops connected with technical schools; apparatus of any description made by students.

Map drawing from memory and from copy, with and without printed skeleton paper, of the size of the leaf of the ordinary quarto school atlas.

Written exercises, comprising English compositions, themes and translations in different languages; exercises in the various elementary branches; exercises in the higher studies, literary, scientific, aesthetic, professional, and technological; specimens of graduating dissertations, orations, and theses.

Written exercises should, as a rule, especially those of an elementary character, be of the regular letter sheet size, with margin for binding, unruled, ruled by hand, or machine ruled. They should be neatly and plainly bound in muslin in volumes of moderate thickness.

It is suggested that exercises prepared especially for the exhibition be commenced simultaneously on the 1st of February, 1876. (New England Journal of Education, July 10, 1875.)

*

JOHN EATON,

J. D. PHILBRICK,
ALONZO ABERNETHY,
J. P. WICKERSHAM,

Committee.

III.-PRELIMINARY WORDS TO THE REPORT BY MR. STETSON.

The accompanying report upon the exhibition of elementary drawing at the Centennial was prepared by the late Mr. Charles B. Stetson, the well known writer upon the subject of technical education, at the request of the jury on education.* Mr. Stetson was at first desired to make a report upon the whole subject of "technical education," which, from want of time to devote to it, he was unable to undertake, but with the approval of the "jury" confined his investigations to the subject of elementary drawing, as being "the most essential feature of technical education, whether for men or women." The jury desired an exhaustive and impartial report upon the foreign and native exhibits.

In connection with this, Mr. Stetson prepared a preliminary treatise upon the subject of drawing, as illustrated by the Exhibition. This portion of his report, tracing, as it does, the various relations of drawing to applied industry, is of permanent value.

The plan of the publication of official reports finally adopted by the Centennial authorities is far more limited than was anticipated when this and other reports were prepared.

That part of the report by Mr. Stetson which states the actual condition of the several exhibits of elementary drawing shown by the sev eral communities and institutions, critcising or commending the methods of instruction adopted, appeared in the official report published by the Centennial authorities.

The publication of this entire report, as prepared by Mr. Stetson, has been urged by the individual members of the jury, and by other leading educators. Among these are President Andrew D. White, of Cornell; Dr. J. W. Hoyt, secretary of the boara of judges; President

*The following was the letter of authorization given to Mr. Stetson to facilitate the preparation of his report:

[International Exhibition, 1876. United States Centennial Commission. Bureau of Awards, Group XXVIII.]

PHILADELPHIA, July 31, 1876. SIR: Permit me to introduce Charles B. Stetson, Esq., who has been requested by the judges on "Education and Science" to make special investigation for them in matters pertaining to technical instruction.

Any aid which you can give him in your exhibit will greatly serve the object of Group XXVIII, and will be of general use.

Mr. Stetson is well known in the United States as the author of a very thoughtful work on technical education.

Very respectfully, yours,

J. M. GREGORY,

Chairman.

To any gentleman in charge of any exhibit coming under the inspection of Group XXVIII.

J. M. Gregory, of the Illinois Industrial University, and Rev. Dr. Miner, chairman of the Massachusetts State board of education.*

If those paragraphs of his report in which Mr. Stetson criticises and compares the drawing exhibits made by the several cities, towns, and institutions in the United States were not elsewhere published, the advisability of its insertion here might be questioned; since direct criticism of systems or institutions has not been customary in the publications of this Bureau.

The fact, however, that this portion of Mr. Stetson's report is elsewhere officially published, effectually disposes of any objection to its insertion here; though, were it otherwise, the plea might well be urged that the very object of sending any exhibit to the Centennial was to invite criticism, and to furnish opportunity for comparison; so that unless intelligent criticism and comparison were made in such a way as to be known to each and all of the exhibitors, the sole value educationally, of the efforts made in preparing and forwarding the exhibits, would be lost to those who had thus shown that they desired to obtain just such returns for their labor.

One great purpose of such world's fairs is to afford nations, institu tions, and individuals, an opportunity to realize their own deficiencies and to see the excellencies of others; and educators certainly will en deavor to be first to take cognizance of, and correct, any deficiencies so discovered in their systems and methods.

If industrial drawing is to be added to the required studies in public schools it is of the greatest importance that its uses, its limitations, and the best methods of instruction should be clearly and fully compre hended. After a careful perusal of the report by Mr. Stetson (than whom the writer knew no one more competent to prepare such a report), the conclusion was reached that no better means for forming an intelligent judgment upon these questions was available, than this entire report exactly as prepared, and an earnest request was made to Mr. Stetson, by the author and compiler of this special report on art educa tion, for permission to insert his report upon "Elementary Drawing at the Centennial," in the appendix to this publication of the Bureau of Education.

As the criticism upon the work shown by the various schools at the Centennial was already published, it seemed most desirable that the principles laid down by Mr. Stetson in the introductory part of his report, and in accordance with which the separate exhibits were judged, should be made known to all interested; this could only be done by the publication of the whole report, which contains the citations of authorities from various writers for the several positions assumed as fundamental, and, also, all the illustrations of these principles taken from examples found in the Exhibition itself, all of which citations and examples were, of necessity, omitted in the abstract of his report as pub lished by the Centennial authorities.

*

*The Fortieth Annual Report of the Board of Education of the State of Massachusetts, published January, 1877, contains the following reference to this report. "For an analysis of the enterprise as a whole" (that is of the drawing exhibit at the Centennial made by the State), "and a statement of the results which our honored Commonwealth has thereby achieved, we refer to the report of the committee having the exhibit in charge, and also to that drawn up by Mr. C. B. Stetson on behalf of the judges in the department of education and science at the Centennial Exhibition, and which, when published, we should be glad to see widely circulated in our State.