In the twenty-five years intervening between the exhibition of 1851, when the movement really began, and the exhibition of 1876, when we in this country saw the results, England advanced from her position far behind the Continental nations in the artistic excellence of her industries, to a place in the foremost rank. That is what the nation accomplished. The report of the Science and Art Department for that year gives us some insight into the way in which it was done. The total cost to the nation of South Kensington Museum, including administration, buildings and collections, amounted to £1,191,709 17s. 4d. Of this, the sum of £281,672 6s, Id. had been applied to the purchase of the collections.

There were under the direction of the Science and Art Department 1336 science schools, with 53,050 students under instruction, and 1132 schools of art, with a total of 24,138 students. In addition, there were 653 art night classes of 21,851 students. 290,425 were taught drawing in the elementary day schools. The grand total of persons taught drawing, painting or modelling through the agency of the department, was 343,382.

From the first formation of the Museum, a system of circulation of selected objects for exhibition in aid of schools of art in the provinces has been in force. These comprise: 1. Examples furnished to schools for stated periods for the purpose of study. 2. Original art objects for exhibition in connection with the schools. 3. Circulation of reproductions by various processes, sent on deposit loan, to be retained by the schools for a period of one or more years.

The relation of the South Kensington Museum to this general plan has made it the centre of the system, from which emanate the streams of knowledge and taste that have already so marvellously increased the industrial productiveness of the nation.

Turning now to our own country from this brief review of what Europe is doing to provide technical education, we find that the progress of our industrial development and the changed conditions. of civilization here, are exerting similar influences on our educational methods. Having allowed the apprentice system to fall into disuse, we are called upon to provide our youth an education that will supply its place. Our manufacturers who are engaged in the prosecution of those branches of industry in which skill and taste.

are required, ask to be relieved of their dependence on foreign workmen. Our working people, the class which always feels most sensibly the effects of prosperity or depression in trade, require that they be given equal training to their competitors from abroad. They see that skilled labor is always in demand, even when unskilled labor, is begging for bread. If any one asks whether the demand here for skilled labor is sufficient, they answer that the country sends annually two hundred millions of dollars to Europe for the products of skilled labor. The reason why we import artisans and designers from Europe to work at artistic manufactures and to do skilled work, is mainly because we have not made provision to give our youth the same educational opportunities these men have had. The same excellent results that have been achieved in Europe may be expected here when we have made like provision for the universal teaching of drawing, for the establishment of trade schools where our young men shall be systematically taught the principles and practice of the art or handicraft which they are to follow, and for the founding of museums where they can go to refresh their memories, obtain ideas and have their ambition stimulated.

Thus far, Massachusetts is the only State that has undertaken to establish a system of general industrial education. The movement was initiated by the Boston Public School Committee under the law of 1870 authorizing any city or town to establish schools of instruction in industrial and meehanical drawing. Mr. Walter Smith, an art teacher graduated from South Kensington, was placed in charge of the new department. Afterwards, as State Director, he organized the system which now extends to every city and town in the State. Independent of this action on the part of the Government, the liberality of public-spirited citizens and manufacturing companies has provided the State with a number of industrial schools. Of these, the most noteworthy, the Worcester Free Institute-conducted nearly on the plan of the German trade schools, is one of the best equipped and most practically ordered schools in the country. The Lowell branch of the Massachusetts Institute of Technology is another generous provision for industrial education. Already there is abundant evidence that the instruction. given has added materially to the value of the manufacturing industries of the State, and in other States the desirability of following the

example of Massachusetts is under discussion. The Maryland Assembly has recently been memorialized by the Maryland Institute to have drawing taught in the public schools, and in connection therewith to found a museum of industrial art. We find also that, in addition to the applied science departments which have become a common feature in our principal colleges and universities, several have established art departments in connection with museums or galleries of art. Among these are Washington University, Yale, Amherst, Cornell, the Universities of Louisiana, Rochester, Syracuse and Vermont. The generous gift of Mr. Wayman Crow of St. Louis, founding "The Museum and Art Gallery of the St. Louis School of Fine Arts" in connection with Washington University, entitles that university to the first place on the list.

Other institutions, such as the Cooper Union, the Illinois Industrial University, the School of Design for Women in Philadelphia, and the Decorative Art Associations of New York, Baltimore, Cincinnati, Chicago, and elsewhere, either give instruction in industrial art as a part of their curriculum, or are founded for that purpose alone. The Cooper Union is the most important industrial school in this country. Since the property was transferred to them in 1857, at the cost of $630,000, its trustees have expended upwards of a million dollars in giving free instruction to the public. Its aim is " to educate the industrial classes into intelligent skill as a necessary antecedent to their prosperity and happiness." Among the numerous schools of fine art in connection with galleries, are the Pennsylvania Academy, the National Academy, the Yale School, the St. Louis School already mentioned, and the School of the Boston Museum of Art.

I shall group the Corcoran Gallery, at Washington, under the museums, because the munificent founder stated in his deed of gift that his object was "the perpetual establishment and encouragement of painting, sculpture and the fine arts generally," and because he has himself enriched the collection with several magnificent examples of applied art. The fame of the gallery, however, rests at present upon its galleries of painting and statuary. The Corcoran Gallery, including the ground, building, contents and endowment fund, is the free gift of Mr. Corcoran to the public. He has endowed it with one million dollars.

The Metropolitan Museum of Art in New York was incorporated in April, 1870, "for the purpose of establishing and maintaining a museum and library of art, of encouraging and developing the study of the fine arts, and the application of art to manufactures and practical life, of advancing the general knowledge of kindred subjects, to the end of furnishing popular instruction and recreation." Two hundred and fifty thousand dollars were raised by subscription, and the next year the Legislature passed an act appropriating five hundred thousand dollars and authorizing the Department of Public Parks to erect a building in Central Park for the purpose of establishing therein a museum and gallery of art. By a later act, the Park Department was authorized to enter into an agreement with the Trustees of the Metropolitan Museum for the reception of the same. In 1878, as the building approached completion, a law was enacted authorizing the city to expend thirty thousand dollars in the equipment and furnishing of the Museum, and the same amount was appropriated in the following year. These sums were expended by the Park Department in the ways recommended by the Trustees of the Museum. The buildingwhich is only the Hall and about one-twelfth the area of the structure as it is planned,-was opened March 30th, 1880. The report, issued two months later, stated that the total subscription to the Museum fund was $348,583.00. The collections were valued at $389,188.08, of which sum $87,475.50 was the value of the donations. During the first year in the new building, upwards of a million persons visited the Museum. Apart from anything else, the Cesnola collection of Cypriote antiquities would make this museum well known, but, in the rapidly increasing value and variety of the other acquisitions, this will soon be but a special feature in a collection of general interest and attractiveness. Last year a generous patron of the institution offered to erect a building on First Avenue, south of Sixty-seventh Street, for an industrial school, to give the use of it rent-free, and to pay all the other running expenses for three years. This educational department of the Museum is now begun, and doing well.

The Boston Museum of Fine Arts was organized, "I. To make available to the public and to students such Art collections already existing in this neighborhood as the proprietors of such collections

may see fit to deposit in a suitable building to be arranged for the purpose, under such general provisions as to the custody and exhibition thereof as shall be agreed upon, with the sole view to their greatest public usefulness. 2. To form in this way the nucleus of what may hereafter become, through the liberality of enlightened friends of Art, a representative Museum of the Fine Arts, in all their branches, and in all their technical applications. 3. To provide opportunities and means for giving instruction in Drawing, Painting, Modelling and Designing, with their industrial applications, through Lectures, Practical Schools, and a Special Library." A subscription of $250,000 was made for a Museum fund, the city providing the land and putting the surroundings in order. The present building, which is but one wing of the structure ultimately to be erected, was opened to the public July 3, 1876. The most important features of the Museum are its galleries of paintings and engravings, although it has lately received numerous valuable additions to its already rich collections of applied art. The art classes occupy rooms in the building. In its direction and arrangements for furthering the purpose for which it was founded, the Boston Museum is in advance of all the other museums in the country. The institution is supported by subscribers and the interest from several legacies. The number of visitors during 1880 was 167,843.

The Pennsylvania Museum and School of Industrial Art, in Philadelphia, differs from those already mentioned in that it was organized to provide " for the State, in the city of Philadelphia, a Museum of Art in all its branches and technical applications, and with a special view to the development of the art industries of the State, to provide instruction in drawing, painting, modelling, designing, etc., through practical schools, special libraries, lectures and otherwise. The institution to be similar to the South Kensington Museum of London." Its inception was due to the Centennial Exhibition, just as the South Kensington Museum had its origin in the Exhibition of 1851. The institution was incorporated in February, 1876. A fund of fifty thousand dollars was subscribed. with which to make purchases for the collection. As the city already had in the Pennsylvania Academy a school and gallery distinctively of the Fine Arts, and in the Franklin Institute a school and collection distinctively of the Mechanic Arts, it was determined to limit the purchases to be made for the Pennsylvania Museum to