Illustrated Catalogue, with Price List, sent Free on Application. 
 
PAPIER-MACHE 
 LAY FIGURES, 
 
 From 10, Guineas. 
 
 A Selection of 
 
 Plaster Models, 
 
 Specially adapted for 
 SCHOOLS OF ART, 
 Approved hy the Science and 
 Art Department. 
 
 Phototypes on Application. 
 ALL MATERIALS FOR 
 
 DRAWING, PAINTING, 
 AND MDDELLING, 
 
 LECHERTIER, BARBE <& CO., 
 
 Artists’ Cotourmakers, Importers & Publishers, 
 
 60, REGENT ST. and 7, GLASSHOUSE ST., LONDON, W. 
 
 ARTISTS’ COLOURS 
 
 AND MATERIALS. 
 
 Ars probat artificem. 
 
 WINSOR & NEWTON, Ltd., 
 
 RATHBONE PLACE, LONDON, W. 
 
 Catalogues Post Free. 
 
GUIDE 
 
 TO THE 
 
 ESTABLISHMENT AND EQUIPMENT 
 
 OF 
 
 ART CLASSES 
 
 AND 
 
 SCHOOLS OF ART 
 
 WITH ESTIMATES OF PROBABLE COST, ETC. 
 
 BY 
 
 E. O. HATTON, 
 
 HEAD ART 31 ASTER, DURIIA31 COLLEGE OF SCIENCE, NE3VCASTLE-ON-TYNE. 
 
 LONDON : CHAPMAN A HALL, ld. 
 1895. 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 
 University of Illinois Urbana-Champaign Alternates 
 
 https://archive.org/details/guidetoestablishOOhatt 
 
O-C? 
 
 // 
 
 o 
 
 o 
 
 PREFACE. 
 
 »<x ■ 
 
 The aim followed in the preparation of this Guide 
 has been to put together such information as is 
 required by those who find themselves entrusted 
 with the establishment and equipment of art classes 
 or schools of art. Something has therefore to be 
 said concerning the rooms in which classes are to 
 meet, the lighting and general arrangements, con- 
 cerning the furniture and fittings, the casts, ex- 
 amples, and books of reference. Then a few words 
 are devoted to secretarial work, to registration and 
 classification. The relationship to South Kensington 
 is touched upon, but only in an initial manner, since 
 the “ Directory ” is itself precise and intelligible 
 enough. It need hardly be said that all connected 
 in a managerial sense with a school of art or an art 
 class should read up the Directory.” 
 
 There will be occasion to mention the publica- 
 tions of certain firms. It is almost impossible to 
 avoid doing this, and there is perhaps no reason 
 
 b 2 
 
 
IV 
 
 FEE FACE. 
 
 why such an avoidance should be sought ; but the 
 reader must bear in mind that all such references 
 are made purely for convenience, and because the 
 writer has come across these names in his inquiries, 
 and therefore it must neither be taken that thino:s 
 mentioned are recommended above others, or that 
 things not mentioned are deemed unfit or defective. 
 The writer has not felt it necessary to hunt up every 
 publication, and has rested content when he bas 
 found a list sufficient for his purpose. 
 
 So long as the present system of payment by 
 results ” obtains, will committees want to feel that 
 they are prepared at all points for earning as much 
 grant as possible. The assistance of the county 
 councils has happily widened the scope of our 
 schools and relieved them of some, at least, of the 
 pressure of the incubus of grant-earning, therefore 
 suggestions are made beyond the seeming limits of 
 the Government syllabuses. 
 
 As far as possible, the cost of the various items 
 recommended has been given. The cost of furniture 
 is, however, so uncertain that the figures given must 
 be regarded as rough estimates. Committees will 
 find that sometimes they can get better terms by 
 engaging joiners or by contracting with local firms. 
 The cost of packing and carriage has been almost 
 
PBEFACE. 
 
 V 
 
 without excejDtion omitted. This item will have 
 to be added wherever the things come from a 
 distance. 
 
 It has been felt that it would be unnecessary 
 to give the equipment for a school of more than 
 moderate size, so that the various items recom- 
 mended are to be regarded as the minimum require- 
 ments, and not as a full list of those things which 
 it is desirable to have in an art school. 
 
CHAPTER 
 
 PAGE 
 
 T. The Relation of the Class or School to the 
 Department of Science and Art ... 
 
 II. Requirements of a Moderate-sized Art School 
 
 III. A School of Art — The Building 
 
 IV. Furniture for Students’ Use 
 
 „ FOR SUPPORTING EXAMPLES ... 
 
 Other Necessary Furniture ... 
 
 V. Copies and Models necessary for Teaching 
 Freehand, Model, Geometry, and Perspective 
 
 VI. Casts 
 
 VII. Expenditure connected with the Teaching of 
 
 Advanced Subjects 
 
 VIII. Art Class Equipment — Elementary Subjects ... 
 
 „ - „ Intermediate Subjects 
 
 1 
 
 oI 
 
 3G 
 
 4-2 
 
 49 
 
 57 
 
 04 
 
 74 
 
 8G 
 
 95 
 
 108 
 
GUIDE 
 
 TO THE ESTABLISHMENT AND EQUIPMENT OF 
 ART CLASSES AND SCHOOLS OF ART. 
 
 CHAPTER I. 
 
 THE RELATION" OF THE CLASS OR SCHOOL TO THE 
 DEPARTMENT OF SCIENCE AND ART. 
 
 The Government Regulations. 
 
 I. 
 
 Definition of a School of Art and an Art Class, 
 
 A School of Art must be under public manage- 
 “ ment and held in rooms approved by tbe Depart- 
 ‘‘ ment, wbicli are wholly devoted to elementary and 
 advanced instruction in Art. The school must be 
 “ adequately supplied with apparatus and examples, 
 “ and be always open for study and the inspection 
 “ of the Art examples ” Directory,” ch. iii. para. 3). 
 
 ‘‘In Schools of Art both Day and Night Classes 
 “ must be held, and there must be a Night Class for 
 
 B 
 
‘2 
 
 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Artisans meeting under tbe instruction of the 
 master for two hours at least three times a week 
 during forty weeks in the year ” (“ Directory,” 
 ch. iii. para. 6). 
 
 An Art Class may be held in a Mechanics’ 
 ‘‘ Institute, School, or other Public Institution ; but 
 “ it must be adequately supplied with apparatus and 
 ‘‘ examples for instruction ” (“ Directory,” ch. iii. 
 para. 4.). 
 
 ‘‘ Every School or Class must be under the super- 
 ‘‘ intendence and management of a Local Committee, 
 who are responsible for the engagement, employ- 
 “ ment, and payment of the teacher or teachers, and 
 for all other expenses connected with it. It must 
 “ not be conducted for private profit or farmed out 
 “ by the Managers to the Teacher ; and it must have 
 local support either in the form of fees and sub- 
 ‘‘ scriptions or of rates. Grants cannot be made for 
 ‘‘ Science or Art Classes in buildings which are not 
 “public institutions, unless such classes are held in 
 “ the evening, and are open to the public ” (“ Direc- 
 tory,” p. 2). 
 
 II. 
 
 Local Committees of Management. 
 
 The following are the Government regulations 
 respecting the constitution of Committees, and the 
 steps they must take in establishing an Art School 
 or Class : — 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 3 
 
 ‘‘ IX. The Local Committee ^ must consist of a 
 Chairman, Secretary, and at least three other 
 “ members. The offices of Chairman and Secretary 
 cannot be held by the same person. The Depart- 
 ment corresponds, as a rule, with the Secretary 
 alone, and he is required to sign all communica- 
 “ tions from the School. 
 
 “ The Committee may be — 
 
 ‘‘ (1) The Local Authority under the Technical 
 “ Instruction Act, or the Committee to 
 “ which it has delegated its powers under 
 ‘‘ that Act ; or a School Board, or the 
 “ governing body of a School (not being 
 ‘‘a public elementary school within the 
 ‘‘meaning of the Education Act, 1870), 
 “ with a scheme under the Endowed 
 ‘‘ Schools Acts or the City of London 
 “ Parochial Charities Act; or 
 “ (2) A Committee formed for the special purpose 
 “of superintending and managing the 
 “ School or Class under the Department. 
 
 “ If a Local Authority, School Board, or Board 
 “ of Governors desire to act as the Local Committee 
 “ of a School for which they are responsible, they 
 “ must pass a resolution to that effect. This resolu- 
 “ tion, with the names and addresses of the members, 
 “ must be transmitted to the Department and will 
 “ remain in force until rescinded. All changes in 
 
 Ladies may act .upon the Committee. See “ Directory,” 
 p. 109, or Form 88. 
 
4 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 the constitution of the Local Coinmittee must be 
 ‘‘ reported as they occur. 
 
 A Local Authority (or the Committee to which 
 it delegates its authority under the Technical 
 ^‘Instruction Act, 1889) or a School Board may 
 “appoint a Committee consisting wholly or partly 
 “ of members of their body, and may delegate the 
 “ duties of superintendence and management of 
 “ the School to such Committee, provided that 
 “ the members of this Committee who are not 
 “ members of the Local Authority or of the School 
 “ Board are such persons as would be eligible to act 
 “ on a Committee under section (a) below. 
 
 “ In other Schools or Classes, or where the 
 “ Local Authority, School Board, or Board of 
 “ Governors do not act in their corporate capacity 
 “ as the Local Committee for a School or Class, the 
 “ Committee to superintend and manage it must 
 “ comply with the following conditions : — 
 
 Committee 
 to consist 
 of at least 
 five mem- 
 bers. 
 
 Chairman 
 and at least 
 one other 
 
 “ (a) All the members of the Committee must be well-kuowii 
 “ responsible persons of independent position, who have 
 “ no personal interest in the teachers of the school. 
 “ The following are not eligible to be members of 
 “ the Committee : — Candidates for examination by the 
 “Department or their Teachers in any subjects; 
 “relatives of Teachers under the Department ; 
 “ Teachers of Schools which have candidates for 
 “examination; and Teachers of Schools receiving 
 “ Government Grants. A member of Committee must 
 “ not take any part in an examination at which a 
 “ relative of his is a candidate. 
 
 “ (6) As many persons as possible in recognised positions of 
 “ public responsibility in the district, such as mayors, 
 
ABT CLASSES AND SCHOOLS OF ART. 
 
 “ provosts, town or county councillors, magistrates, 
 “ members of school boards, trustees of grammar 
 “ schools, clergymen of the Established Chureh in 
 “ parochial employment, and ministers of religion in 
 “ charge of legally recognised places of public worship, 
 “ should be on the Committee. It is absolutely neces- 
 “ sary that at least two such responsible persons should 
 “undertake to act on it. The Chairman, who Avill be 
 “ required to certify that the constitution of the Com- 
 “ mittee is in accordance with the foregoing require- 
 “ meuts, must be in a position of public responsibility 
 “ as defined above. 
 
 “(c) The proposed members of a Local Committee must sign 
 “Form No. 88. No one can act on a Committee, or 
 “ assist in the conduct of an examination, whose 
 “ membership has not been previously approved by the 
 “ Department. 
 
 “ {d) When a School or Class is first formed, the Form No. 88 
 “ must be signed at a general meeting of the Committee. 
 “ If the same Committee continue to act the next year, 
 “it will only be necessary to fill up Form No. 168 at a 
 “meeting of the Committee. New members who are 
 “added to an existing' Committee during the progress 
 “of a session should sign Form No. 886. 
 
 “ (e) A Local Committee may, with the sanction of the 
 “ Department, supervise classes meeting in different 
 “places, but the Department ivill not recognise more 
 “ than one Committee — except in the case of a Local 
 “ Authority acting as such — for the supervision of in- 
 “ struction given in any one building. 
 
 member 
 must be of 
 position 
 defined. 
 
 Formation 
 of Local 
 Committee. 
 
 Renewal of 
 Committee. 
 
 New mem- 
 bers. 
 
 One Com- 
 mittee 
 recognised 
 for a 
 building. 
 
 ‘‘ X. In order that a School or Class may be Depart- 
 placed on the list of those eligible for grants the approval 
 Committee must have been formed, or renewed, mittee. 
 by the 31st October preceding the examination. 
 
 When the Committee is approved the School or 
 Class 'will be assigned a distinguishing ‘ School 
 Number,’ which must be quoted on all forms and 
 correspondence. 
 
Permanent 
 
 Com- 
 
 mittees. 
 
 Committee 
 for con- 
 ducting 
 an exami- 
 nation 
 only. 
 
 6 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 “ («) A Committee which is formed under § IX., section 1, 
 “ must transmit a certified copy of the resolution by 
 “ which it is constituted. 
 
 A Committee which is formed under § IX., section 2, 
 “must forward Form Xo. 88 or, on renewal. Form Xo. 
 “ 168. 
 
 “ (c) A Committee which has been recognised by the Depart- 
 “ ment continuously for three years, or a Committee 
 “formed by resolution, is not required to send in a 
 “renewal form year by year, but Avill be considered as 
 “ continuing in office so long as it discharges its duties , 
 “efficiently, or until the Department is informed that 
 “the members desire to relinquish their duties. The 
 “ Secretary of the Committee should, however, report 
 “all changes in its constitution, and, in the case of a 
 “ Committee formed under § IX., section 2, he should 
 “submit on Form Xo. 88b the signatures of new 
 “ members, duly certified by the Chairman. Any 
 “ alterations required by the Department must be 
 “completed by the 31st January preceding the ex- 
 “amination (^sec Form Xo. 170, p. 105). 
 
 “ XL A Committee may be formed to provide for 
 “ the examination of candidates on account of whose 
 success neither payments nor prizes are to be 
 ‘‘claimed. Such a Committee should sign Form 
 “ No. 88c, which must be sent to the Department 
 “ before the 1st January preceding the examination 
 “ for which application is to be made. 
 
 “This Committee cannot be renewed by sending Form Xo. 168, 
 but must be reconstituted from year to year.” 
 
 (“ Directory ” pp. 3-5.) 
 
 The duties of the Committee are further sum- 
 marised on Form 88, or p. 110 of the “ Directory.” 
 They may be epitomised as follows : — 
 
 («) Provide and maintain properly lighted, heated, and 
 equipped class-rooms. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 7 
 
 Be responsible for the safe custody on the school premises 
 of all apparatus and examples towards the purchase of 
 which the Department has granted aid, or which it has 
 lent. 
 
 (b) Provide a room or rooms of sufficient size to carry out the 
 
 annual examination according to the detailed regulations 
 prescribed in the Science and Art Directory. 
 
 (c) Visiting classes, inspecting and signing Registers. 
 
 (d) Sending in names for the May Examinations, and super- 
 
 intending and, unless a Special Local Secretary be 
 appointed, conducting the examinations. 
 
 (e) Transmission of works executed by the students to the 
 
 Department for examination, and make an annual report 
 of the school’s proceedings. 
 
 (jT) Certify that the Claims are in accordance with the 
 Department’s regulations, and 
 {g) That the requisite number of lessons have been given. 
 iji) To undertake that the school, with all its apparatus and 
 examples, shall always be open to the Inspector. 
 
 Such, then, are the Government demands on the 
 Local Committee, and although they are extensive 
 enough, and, if acted upon in the spirit in which 
 they are framed, sufficient, yet so easily are the 
 duties relegated to, or adopted by, the Master or 
 Secretary, that in very many cases the Committees 
 are mere signatory machines, meet very seldom, 
 and know little or nothing of the working of the 
 schools under their control. 
 
 Dormant Committees, such as these, may serve 
 very well to legalise their schools and earn 
 grants, but it is very desirable that Committees 
 should act very differently, and consider that they 
 are entrusted with the artistic welfare of their parti- 
 cular localities. 
 
8 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Repeatedly does tlie “Directory” say that the 
 Department aids and does not merely maintain^ and 
 that the Parliamentary vote from which its grants 
 are made may cease. 
 
 The Department undoubtedly expects that the 
 Committee should conduct the school in an inde- 
 pendent spirit ; though it naturally imposes rules 
 and conditions where it grants aid. Further, the 
 Department’s rules and regulations were never 
 intended as a constitution for a school, nor as a line 
 of policy for its managers. 
 
 In cases where the Committee is dormant, the 
 arrangements are usually entirely in the hands of 
 the Master. This is not necessarily a bad arrange- 
 ment ; but a strong school must have an active 
 Committee. We will briefly indicate the ways in 
 which an active Committee would render much 
 service. 
 
 In the first place, the Committee must have a 
 policy to carry out. Perhaps it will be their 
 Master’s policy, but it is essential that each member 
 of the Committee should know precisely the lines 
 upon which the school is being conducted, and the 
 aims which are being pursued. They should have 
 determined what they can do for the various classes 
 of students who come to the school, — for the litho- 
 grapher, the silversmith, the cabinet-maker, and 
 the ordinary art student, both of the morning and 
 evening classes, as well as for those who want to 
 make art their profession. Competent as a Master 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 9 
 
 may be, his efforts to assist students will only have 
 half their force, unless the Committee recognise his 
 needs and intelligently second his proposals. 
 
 The members of the Committee in visiting the 
 school can see whether the rooms are properly 
 cleaned and straightened, whether cupboards or 
 drawers are necessary, and whether the lighting 
 is satisfactory. They must see that the classes 
 commence punctually, and are conducted in an 
 orderly manner. They must satisfy themselves that 
 the apparatus and appliances are adequate, and 
 must endeavour to forestall the Master’s demands. 
 
 Not only must the particulars respecting the 
 Committee be submitted to the Department, but 
 “ detailed information in respect of Schools of Art 
 “ must be sent to the Department in Form No. 527, 
 upon the formation of Schools of Art, and as the 
 Department may require ” Directory,” p. 65). 
 
 III. 
 
 Government Aid. 
 
 “ Aid is only granted to Schools and Classes 
 ‘‘ which have been approved by the Department, 
 and are open at all times to the visit and inspec- 
 “ tion of its officers. 
 
 “ Grants may be withheld wholly or in part for 
 any breach of the rules, or if the instruction or 
 supervision is inefficient. The Department is the 
 
10 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 “ sole judge as respects all grants and awards, and 
 “ its decision is final and conclusive. 
 
 ‘‘ The vote for Science and Art instruction is 
 “ liable to be decreased and eventually discontinued. 
 “ Its grants, which are intended to supplement and 
 ‘‘ not to supersede local effort, must, therefore, not 
 ‘‘ be looked upon as perpetual, or as in any way 
 “ establishing a claim to any payments beyond those 
 “ offered from time to time. 
 
 “ This aid is granted in the form of — 
 
 Payments ^ to the Committees of Schools and 
 “ Classes on the instruction as tested by 
 ‘‘ examination, by students’ attendance and 
 “ by inspection, and certificates, prizes, 
 medals, free Studentships, Scholarships, 
 ‘‘ and Exhibitions to the Students. 
 
 Building Grants : and, in Ireland, Grants 
 ‘‘ towards the purchase of apparatus, ex- 
 amples, fittings, &c. 
 
 “ Loans and Grants to Local Museums and to 
 “ Science and Art Schools.” 
 
 Directory,” p. 2.) 
 
 The grants are in detail as follows : — 
 
 “ Payments to the Local Committees of Schools and Classes 
 “ on the results of instruction, as tested by Examination, 
 “ of Students of the Industrial Classes. 
 
 This and other paragraphs of a general character quoted 
 from the “ Directory ” apply both to Science and Art Schools 
 and Classes. There are no grants in Art given merely upon 
 inspection or attendance as in Science. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 11 
 
 “ («) (Art) £1 and IO 5 . for a 1st and 2nd class respectively 
 “in the Elementary Stage; and £3, £2, and £1 for 
 “excellent 1st and 2nd class respectively in the 
 “Advanced Stage, and for subjects in which there is 
 “no Elementary or Advanced Stage; and £6 and £3 
 “for 1st and 2nd class respectively in Honours. 
 
 “ (a) (Science) £2 for a pass in the Elementary Stage of 
 “each subject except mathematics [Art Schools just 
 “ now take Section I., Science Subject I., i.e. Plane and 
 “ Solid Geometry] ; IO 5 . for a pass in Geometrical 
 “Drawing (Art).” 
 
 The payment of grants on the results of personal 
 examination are subject to certain restrictions 
 beyond the general restriction respecting the social 
 position of the student mentioned on page 26 . The 
 special restrictions are concerned with previous 
 successes of the students claimed upon, and also 
 place a limit to the number of successes in the same 
 year of any student for which payment will be 
 made. 
 
 No payment will be made if the student has 
 been previously successful in a higher stage of the 
 same subject. If a student has previously passed 
 in the same stage, the claim for any present success 
 will be reduced by the amount claimable on the 
 former success whether the former claim was paid 
 or not, ‘‘ hut if the previous success was obtained in a 
 “ school or class under the same committee^ and has 
 “ not been paid upon., the Department may allow the 
 ‘^fidl claim'' 
 
 When students sit at the same annual examina- 
 tion in both stages of Freehand, Model, Light and 
 
12 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Shade, or in all the three stages of Modelled Design, 
 payment will only be made on the higher success 
 obtained. The examinations here mentioned are 
 the only ones that have their different stages taken 
 on different evenings. 
 
 Then the number of successes obtained by a 
 student in one year upon which payment will be 
 made is limited as follows : — 
 
 “ Besides payment for successes in the Elementary Stage, 
 “ payment may also be made on account of the student 
 “ in any one year, for not more than three other suc- 
 “ cesses, whether in Advanced Stage, Honours, or in 
 “ subjects having no stages. 
 
 ‘‘ (Ji) £3 or less per student for works executed in Local 
 “ Classes. 
 
 “(c) £3 for a student obtaining a Free Studentship or Local 
 “ Scholarship. 
 
 “ (f/) £15 each for not more than two Art Pupil Teachers. 
 “ One Pupil Teacher allowed if 20 students of Industrial 
 “ Class, and a second if 50 such students, are satis- 
 “ factorily taught. Branch classes of School of Art 
 “ may only claim one sum. 
 
 “ (e) £5 for each student who obtains a National Scholarship 
 “ or a Royal Exhibition, or who obtains admission to 
 “ Training Class.” 
 
 (“ Directory,” pp. viii. 76 and 77.) 
 
 “ A grant in aid of a new building, or for the 
 “ adaptation of an existing building, for a School of 
 “ Science or for a School of Art, may be made at the 
 “ following rate : — 
 
 “ (ff) Not exceeding 2s. 6d. per square foot of internal area up 
 “ to a maximum of £500 for buildings. 
 
 “ (5) G7'(mts towa?'ds the purchase of apparatus, examples, 
 
AliT CLASSES AND SCHOOLS OF ART. 
 
 13 
 
 “ and fittings ore suspended, except in Ireland, while 
 '"’‘the Local Taxation {Customs and Excise) Act, 1890, 
 “ continues in force.'''’ 
 
 (“ Directory,” pp. viii. and 6.) 
 
 The sum allocated to the payment of Building 
 Grants will not exceed £10,000 in any year ; 
 applications will therefore be considered in their 
 order of receipt in a complete form, loith plans, etc. 
 (‘‘Directory,” p. 6). Application for a Building 
 Grant must be made on or before November 1st 
 preceding, the Parliamentary year in which the 
 grant will be made. For further particulars see 
 “ Directory,” p. 116. 
 
 lY. 
 
 Masters and Teachers. 
 
 “ In order to claim payments on results and 
 “ prizes, the Teacher of a School or Class must 
 “ be qualified in accordance with the rules laid 
 “ down ” (“ Directory,” p. 6). 
 
 “Qualification of Art Teachers. 
 
 “ A School of Art must be under the instruction 
 “ of a teacher holding an Art Master’s Certificate, 
 “ Group I. 
 
 “ («) In cases of the master’s illness, the Department may 
 “ provide a substitute on condition that the Committee 
 “ pay him 20^. a week during the time his services 
 “ are required. No substitute so provided can remain 
 “ longer than three months. 
 
14 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 “ {b) Ex-National Scholars may be recognised as Teachers of 
 “ Modelling, or of any special branch of Art which they 
 “ are qualified to teach, in Schools of Art or Art Classes; 
 “ but they cannot he recognised as Head Masters of such 
 “ Schools or Classes unless they hold, respectively, the 
 “ Art Master’s Certificate, G-roup I., or the Art Class 
 Teacher’s Certificate. 
 
 “ An Art Class must be under the instruction 
 ‘‘of a teacher holding the Art Class Teacher’s 
 “ Certificate or an Art Master’s Certificate. 
 
 («) Classes under the instruction of teachers holding either 
 “ the Elementary School Teacher’s Certificate D., the 
 “ 2nd grade Drawing Certificate, or the new Elementary 
 ‘‘ Drawing Certificate (First Class), may be registered for 
 “ payments on the results of the May examinations in 
 “ the Elementary Stages of Subjects 26, and 56, and 
 “ Science Subject I. and Geometrical Drawing (Art) : 
 ‘‘ as well as for payments on results of the May Art 
 “ examinations in the Elementary Stages of any other 
 “ Art Subjects in which the Teachers have obtained a 
 “ First Class in the Elementary Stage. 
 
 (6) Classes under the instruction of Teachers holding either 
 “ the Elementary School Teacher’s Certificate D., or the 
 “ 2nd grade Drawing Certificate, or of Teachers qualified 
 “ to earn payments on results in Science Subject I. may 
 “ be registered for payments on the results of the May 
 “ examination in the Elementary Stage (only) of Per- 
 “ spective — Subject Ic. 
 
 “ Certificates. 
 
 “ There are three forms of Certificate for Art 
 “ Teachers — 
 
 “ (i.) The Elementary Drawing Certificate (First 
 “ Class and Second Class) ; 
 
 “ (ii.) The Art Class Teacher’s Certificate ; and 
 
 “ (iii.) The Art Master’s Certificate. 
 
ABT CLASSES AND SCHOOLS OF ART. 
 
 15 
 
 “ These several Certificates can he claimed when the examina- 
 “ tions detailed in the succeeding paragraphs have been 
 “ passed. In applying for his Certificate the Applicant 
 ‘‘ must state when and where he passed the examina- 
 “ tions. 
 
 “ Applicants for Certificates may be required to be re-examined 
 “ in any subject in which they have passed more than 
 “ three years previously. 
 
 ‘‘ A teacher holding the Art Master’s Certificate, G-roup IV. 
 “ only, is not qualified for the Head Mastership of a 
 “ School of Art. 
 
 ‘‘ Specially qualified persons may be exceptionally 
 ‘‘ reco&mised.” 
 
 Directory,” p. 66.) 
 
 The qualification required for earning grant on 
 the result of teaching in Science Subjects (of which 
 the Elementary Stage of Subject I., Geometry, is 
 generally taken in Art Schools) is a previous pass 
 by the teacher in the subject. Holders of the 
 Elementary Drawing Certificate (1st class, the 
 School Teacher’s D. Certificate, or the old Second 
 Grade Certificate may claim payments in the Ele- 
 mentary Stage of this Subject (“ Directory,” p. 24), 
 and holders of the Art Master’s Certificate, Group I., 
 if dated before 1893, may teach Science Subject I, 
 
 (“ Directory,” p. 26.) 
 
 There are seven Art Master’s Certificates (Groups 
 I. to Vll.), but Group I. fulfils all requirements. 
 
 The staff may include uncertificated persons. 
 They must not, of course, be declared as in sole 
 charge of classes, for the Department will not 
 recognise them. The head-master, or one of the 
 
16 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 other certificated masters, must be returned as 
 teaching the class either alone or conjointly with 
 the uncertificated teacher. It will, however, be 
 best to return the name of the uncertificated persons 
 as well, as it shows the extent of the staff. 
 
 Committees must recognise the fact known 
 perfectly well to Art Masters, that certificates are 
 but poor criterions of ability, and have been earned 
 at the expense of most valuable time, leaving the 
 candidate more or less incapable of any real work. 
 Very often indeed these teaching certificates are 
 taken by persons of very limited ability, without 
 any study of art teaching itself. 
 
 It is by the managers of some of the largest 
 schools not considered wise to place heavy duties 
 upon junior teachers. Their own study in the 
 school, while it improves them and renders them 
 more valuable as teachers, is objectively of great 
 assistance to a school. It would be best to pay an 
 assistant a fair wage, give him not too much teach- 
 ing, and expect him to spend the remainder — of, say, 
 four days a week — in study at the school. 
 
 Pupil Teachers . — The Department makes a grant 
 (£15 each for two pupil-teachers, if appointed) to 
 Schools of Art to assist in the payment of salaries 
 to these members of the staff. Often the £15 is 
 the whole stipend. A person is not deemed a pupil- 
 teacher after the age of twenty-five, nor if he or she 
 takes numerous or important classes. The appoint- 
 ment should be made for definitely one year only. 
 
ART CLASSES AND SCHOOLS OF ART, 
 
 17 
 
 though the same person may be appointed in the 
 following year. By this means some hold is re- 
 tained over the pupil-teacher, and he, being liable to 
 lose his position, is perhaps a little more careful 
 of his actions. It should be made a rule that he 
 spends the whole of his available time in study 
 in the school. See also Directory,” p. 77.' 
 
 Y. 
 
 Hours and Duration of Classes. 
 
 In order to claim grant the following regulations 
 respecting the number and duration of class lessons 
 must be observed 
 
 In Schools of Art both Day and Night 
 “ Classes must be held, and there must be a Night 
 ‘‘ Class for Artisans meeting under the instruction 
 of the master for two hours at least three times a, 
 “ iveeh during forty weeks in the year ” Directory,” 
 p. 65). 
 
 “ The class in each subject of Science, or group 
 of subjects of Art, must meet under the instruction 
 “ of a qualified teacher on at least 28 days during the 
 ‘‘ session, each meeting being of at least one hour’s 
 “ duration on a separate day : and the instruction of 
 “ all students upon whose examination a payment is 
 “to be claimed must commence within reasonable 
 “ time after the 1st October preceding the examination 
 
 c 
 
18 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 “ on which payments on results are claimed and 
 continue until the examination. 
 
 “ Shoukl the instruction not commence and continue as above 
 “ stated, or should less than 28 lessons have been given 
 “during the session, the claim for payment on results 
 “ ’will only be considered under very exceptional circum- 
 “ stances, and payments, if made at all, will be pro- 
 “ portion ately reduced. 
 
 Every School or Class must, on its formation 
 ‘‘ and annually before the October, make a return 
 “on Form No, 120 of its Teaching Staff, with the 
 “Time Table of instruction for the current session; 
 “ of its sources of maintenance ; and, in the case of 
 “ an old School or Class, of the statistics for the past 
 “ session. 
 
 “ (a) If Form No. 120 be not received before 1st October, the 
 “ Department may refuse to make payments on the results 
 “ of the next examination. The acceptance of Form No. 
 “ 120 after that date will be exceptional, and subject to 
 “ a deduction from the grant. 
 
 “ (^) The arrangements for the session returned on Form No. 
 “ 120 are not necessarily final, but they must be adhered 
 “ to until a letter intimating intended alterations has 
 “ been sent to the Department and its receipt has been 
 “ acknowledged. 
 
 “ (c) Those lessons only Avhich are given on the days and 
 “ between hours previously reported to the Department, 
 “and which are given by teachers of whose appointment 
 “it has approved, and in the buildings which it has 
 “recognised for the meetings of the class, can be regis- 
 “ tered towards the number necessary for prizes or for 
 “payments on results.” 
 
 (“ Directory,” pp. 6 and 7.) 
 
 A student upon whose passes grant is claimed 
 must have received at least 20 lessons in the group 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 19 
 
 of subjects of art in which the special subject 
 claimed upon is included, or in the subject of Science. 
 And it is also required ‘‘ that all such attendances 
 “ have been made since the last examination in the 
 “ subject of Science, or group of Art subjects, at 
 which the candidate was succcessful ; within the 
 ‘‘ two years immediately preceding the examination 
 ‘‘ on account of which the claim is made ; and in 
 “ classes under the supervision of the same com- 
 “ mittee.” In the subject of Elementary Modelling 
 the 20 lessons received and 28 lessons given may 
 extend over the 12 months preceding the exami- 
 nation. 
 
 YI. 
 
 Regulations respecting Fees and Income, 
 
 “ That portion of the income of a School which 
 ‘‘ is derived from instruction in Science or in Art 
 ‘‘ must be applied wholly for the purposes of such 
 instruction, and the Local Committee must provide 
 ‘‘ and maintain suitable rooms for the instruction 
 “ and for the examinations, with firing, lighting, 
 apparatus, examples, &c. If at any time it appears 
 “ that these are unsatisfactory or insufficient, the 
 assistance of the Department may be reduced or 
 “withdrawn” (“Directory,” p. 5). 
 
 “ Gratuitous instruction is only permitted where the school or 
 “ class is supported by a local rate ; or where considerable 
 
20 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 “ local contributions have been made to secure free 
 “ instruction ; or where classes have been but recently 
 “ established, and it can be shown to the satisfaction 
 “ of the Department that the circumstances of the 
 “ locality justify such a course. No school or class 
 “ will be permitted to charge abnormally low fees in 
 “ order to compete with the others in the same locality. 
 “ The Committees of Schools or Classes in a district 
 “ should, therefore, consider the subject together, and 
 “ fix some minimum fee for the district. 
 
 Students in a Training College ; teachers, and pupil teachers, 
 “and holders of scholarships, exhibitions, and student- 
 “ ships, may be exempted from the payment of fees.” 
 
 (“ Directory,” p. 3.) 
 
 VII. 
 
 Communication with^ and sending Reports to^ the 
 Department. 
 
 Most of the communications with the Depart- 
 ment are made upon Forms ^ which are supplied on 
 application, personally or by letter, addressed to 
 “ The Secretary, 
 
 “ Science and Art Department, 
 
 “ London, S.W. 
 
 The Department does not undertake to send 
 them to Art Schools or classes in the absence of a 
 “ special application in each case. The transmission 
 
 Tlie “may” iu this sentence is really “must” as regards 
 pupil teachers and holders of Free Studentships and Local 
 vScholarships granted by the Department (see “ Directory,” 
 p|). 77, 79, 80). 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 21 
 
 of forms does not imply the recognition of the 
 ‘‘ School or Class by the Department.” 
 
 (“ Directory,” p. 3.) 
 
 The Department requests that all communica- 
 tions should be made upon paper of foolscap size. 
 
 There is a fine for delay in sending in Forms 
 after the specified dates Directory,” p. 108). 
 
 VIII. 
 
 Regulations as to Students, 
 
 The regulations of the Department affect — 
 
 I. The registration of students, 
 
 II. The number of attendances, 
 
 III. The social position of students, 
 
 and arise out of the broad principle — that the 
 Department’s assistance is on behalf of industrial 
 students. 
 
 Two Registers are to be kept ; first, a General 
 Register^ in which the entries run as follows : — 
 
 2136 
 
 Robinson, 
 
 22 
 
 Mar., 1895 
 
 35, High St., 
 
 Engraver 
 
 
 John Wm. 
 
 
 
 Brunton 
 
 
 After which follows the student’s signature. The 
 first number is the Register Number, and is 
 repeated against the particular student’s name in 
 all the forms sent to the Department. The Register 
 Numbers are, of course, consecutive in the General 
 
22 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Eegister, and the first student on the books is 
 No. 1. 
 
 The other necessary register is the Attendance 
 Register."^ The entries in it run as follows : — 
 
 2136 
 
 Robinson, 
 
 Q)d. 
 
 A 
 
 A 
 
 A 
 
 
 
 
 John Wm. 
 
 
 
 C 
 
 A. 
 
 
 
 The identity of Robinson is established by his 
 register number ; after his name follows the fee he 
 pays, and then come his attendances — 5 in group A, 
 2 in group C, and 2 absences. 
 
 This is all the Department requires in the way 
 of registration. The instructions in the ‘‘Directory,” 
 p. 7, are as follows : — 
 
 “ A general register must be kept in accordance 
 “with the instructions in Form No. 1069 {see p. 104) 
 “ for each Science or Art School or Class, and an 
 “ attendance register for each subject taught. The 
 “ Committee are responsible for the accuracy of the 
 “ registration, and no grants will be made or prizes 
 “ allowed unless the registers are properly kept and 
 “ certified. A member of the Committee visiting the 
 “ school should record, in the space provided in the 
 “ Attendance Register, the number of students who 
 
 The Department now require a separate register to be kept 
 for the new subject — Geometrical Drawing ; while, further, as 
 the geometry upon the Art Certificates is not the Art Geometry, 
 but the Science Geometry ^ or Section I. Science Subject I., a 
 separate register must be kept wherein to record attendances 
 available for this subject. That is, if Geometry is taken as both 
 a Science and Art subject, two registers must be kept, making 
 three attendance registers in all. 
 
ART CLASSES AND SCHOOLS OF ART 
 
 23 
 
 “ are present at the time of his visit, and should 
 “certify the entry with his signature and the date.” 
 In many schools these two (or more) compulsory 
 registers are the only ones kept. They are not 
 intended by the Department to serve as working 
 documents, but merely as “ forms ” upon which 
 certain information required is to be returned. We 
 shall presently suggest what books are necessary, 
 but will first remark that the A^ttendance Register 
 may be rendered more serviceable by arranging 
 it as follows. Several copies of the register may 
 be pasted together so that they form one book 
 of several leaves, then the names may be entered 
 alphabetically, all the names beginning with A 
 together, and so on. A space of several lines must 
 be left between each batch of names for additions. 
 Only by so arranging the Attendance Register can 
 it be made to serve the purpose of a school record 
 of attendance, and even this it does not do com- 
 pletely. It is, according to the Government 
 regulations, impossible in the Attendance Register 
 to indicate the amount of time a student has 
 worked. A student may attend all day, working 
 seven or eight hours, and probably at three if not 
 more subjects, but he may only have two letters 
 against his name, say A and C representing 
 elementary drawing and designing, and these may 
 be placed against the name of a student who has 
 worked only one hour at each. 
 
 If, as is allowed, certain claims may be made 
 
24 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 upon attendances dating- further back than the 
 attendance register in actual use (see p. 19), a 
 record must be kept of these old attendances, 
 though they must have been recorded on the 
 previous attendance register which will have been 
 sent up with the previous general claim of the 
 school, and not returned. 
 
 There can he no doubt, however, that even if 
 the Attendance Kegister serves for the school 
 records of attendance as well as for Grovernment 
 regulations, it and the General Eegister are hardly 
 sufficient for general secretarial purposes. In the 
 General there is little or no room for recording 
 successes, and, as a name is only entered once, the 
 addresses become antiquated. 
 
 We should suggest some such secretarial 
 arraugenients as the following. 
 
 When the student enters the school he may fill 
 up a FORM upon which he states his name in full, his 
 full address, his age, his successes in examinations, 
 and the class he proposes to join. UjDon this form 
 the master may indicate in space prepared the 
 subjects which the student will study during the 
 session. The Register number may also be added, 
 and the student may be requested to bear in mind 
 what that number is. 
 
 These forms provide reliable information from 
 which other documents may he prepared. They 
 must be kept in strict alphabetical order. 
 
 If more space were provided in the General 
 
ABT CLASSES AND SCHOOLS OF ART. 
 
 25 
 
 Reo;ister for the record of students’ successes a 
 further register would not be necessary ; and as it 
 is, an Index^ similar to those supplied with ledgers, 
 is indispensable. In this index the students’ names 
 will have the register number against them, and 
 will thus to some extent counteract the non- 
 alphabetical arrangement of the General Register. 
 
 As the General Register seems inadequate, 
 another General should be provided ; and perhaps 
 it would be well to have a new one every year. 
 Further, if the names were kept roughly alpha- 
 betical there would be no need of an index, and 
 this new register may itself be an index to the 
 proper General Register. It should contain spaces 
 for the student’s Register No., surname, Christian 
 names, age, years in school, and spaces for all the 
 Government examinations, and a space for additional 
 successes. When the entry is made the past suc- 
 cesses are added to it, and at the close of the year 
 the successes of the year, say in red ink ; and then 
 next session all the information is carried on, with 
 the age and years in school advanced. The registers 
 issued by Messrs. Chapman and Hall, for some time 
 past, at \s, 6c?. each, correspond pretty nearly to 
 these requirements. 
 
 Numher of Attendances . — The Department re- 
 quire that a student shall have received at least 
 20 attendances and that the master has given at 
 least 28 lessons., in each group of subjects of art ; or 
 grant cannot be claimed. So that if a student 
 
26 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 passes in Freehand, Elementary Design, and Model- 
 ling, he must have 20 A’s, 20 C’s, and 20 F’s 
 against his name ; and he must make, therefore, 
 
 30 double attendances, marked , or at least ; 
 
 F C F 
 
 hut a student uponwhose passing in Freehand, Model, 
 and Elementary Shading grant is claimed need only 
 have made 20 single attendances of one hour each 
 against the other student’s 60 attendances of 1 hour. 
 
 Social Position of Students . — Claims may not be 
 made either for works sent up, or examinations 
 passed, by students of the middle class. • A person 
 who cannot claim an abatement of income-tax, 
 or whose parents cannot, is judged to be a middle- 
 class person. But the position of students attend- 
 ing a night class for artisans meeting after 6 p.m., 
 or on Saturdays after 2 p.m., is not inquired into 
 unless the Department have reason to believe that 
 the class is not bond fide for artisans, and largely 
 attended by them. For these and further details, 
 see ‘‘ Directory,” pp. 13, 14. 
 
 IX. 
 
 Examinations. 
 
 The Science and Art Department’s Examinations 
 commence about the 28/4 of April, and cover about 
 a month. The regulations governing the conduct 
 of them are given in the “Directory,” pp. 7-13; 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 27 
 
 and as it is unlikely that any Committee will em- 
 bark upon examination work without consulting 
 the official guide, we shall here only recall the chief 
 facts connected with the matter. 
 
 Initial Steps — December . — A Committee formed 
 merely to provide an examination of candidates 
 upon whose successes neither grants nor prizes will 
 be claimed, must apply for Form No. 88^^, and send 
 it in, signed, by January 
 
 A Committee that desires to have its students 
 examined must communicate with other cognate 
 committees and form with them an Examination 
 Committee, and appoint an Examination Secretary, 
 who must he a member of one of the Local Com- 
 mittees. 
 
 When an examination is held by this Amal- 
 gamated Committee, each committee concerned must 
 send to the Examination Secretary, before March 
 IQth, a list of the names of the candidates from their 
 school, with the subjects the candidates propose 
 taking, against the names. 
 
 The Examination Secretary sends the Applica- 
 tion Form 119 on to the Department not later than 
 March 21st. 
 
 The examinations thus established are conducted 
 by the Local Committees, the members of which act 
 as Superintendents^ a certain number of whom must 
 always be present,- though they may relieve one 
 another provided the requisite number are always 
 present. 
 
28 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Special Local Secretary . — For the management 
 of examinations in populous districts or large and 
 important schools, tlie Department may authorise 
 or require the appointment of a Special Local 
 Secretary, who will do the work both of the 
 Amalgamated Examination Committee, and of the 
 Examination Secretary whom that body appoints, 
 and he will conduct all the correspondence with the 
 Department. 
 
 The nomination of a Special Local Secretary 
 ‘‘ rests with the Special Committee of the Local 
 ‘‘ Committees, and the nomination of his Assistants 
 with the Special Local Secretary ” (“ Directory,” 
 p. 10). 
 
 Either the Department itself proposes the 
 appointment of the Special Local Secretary, or the 
 Local Committees apply before February l^th for 
 one to be appointed. Then the Department either 
 appoints the Special Local Secretary or asks the 
 Local Committees to form from themselves a Special 
 Committee., and send up their nomination of a person 
 for the position before February 24ztli. For further 
 details, see “ Directory,” p. 10. 
 
 The appointment of a Special Local Secretary 
 relieves the Local Committees of the business of 
 conducting examinations, but they are advised in 
 the Directory ” to attend occasionally. 
 
 “ No persons who have relatives to he examined within their 
 “ district or who are ineligible to act as members 
 “ of a Local Committee (see § IX., sec. a) can act as 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 29 
 
 “ Special Local Secretaries or as Assistants ” (“ Direc- 
 tory,” p. 10). 
 
 Expenses of Special Local Secretary . — The fees 
 allowed to the Special Local Secretary, and the 
 scale upon which his assistants are remunerated, are 
 given in the Directory,” p. 9. 
 
 The cost of the examinations is defrayed partly 
 by the Department and partly by the locality. The 
 Special Local Secretary is empowered to require 
 each school to contribute its share to the general 
 expenses prior to the time of the examinations, and 
 to exclude the students of any school from which 
 payment has not been received. 
 
 When the Special Committee present a certificate, 
 on Form 983, that the local moiety towards expenses 
 have been lodged with them, the Department will 
 remit the other moiety. 
 
 Custody of Examination Papers , — With a view 
 “ to avoid any possibility of the examination papers 
 “ being tampered with, some person must be ap- 
 ‘‘ pointed for each district, who will make himself 
 “ responsible for the custody and distribution of the 
 packets of papers after their receipt by the post, 
 “ and who, from the position of his residence and the 
 ‘‘ nature of his other avocations, is enabled to do so. 
 ‘‘ He may or may not be a member of a committee, 
 “ or the Special Local Secretary, but no person who 
 would be ineligible to act as a member of a com- 
 rnittee can act as a custodian of examination 
 questions. 
 
30 
 
 ART CLASSES AND SCHOOLS OF ART. 
 
 “ The packets of examination questions must not under any 
 “ circumstances be permitted to pass into the hands of a 
 “ teacher, of a candidate for examination, or of any other 
 “ person interested in the success of the examination. 
 
 “ Local circumstances vnW dictate whether it be advisable to 
 “ have one, or more than one, custodian for each district 
 “ or section of a district. 
 
 ‘‘ A special meeting of all the committees, or of 
 ‘‘ delegates from all the committees, in the district 
 must be held to nominate the custodian. This 
 ‘‘ meeting will be convened in the same manner as 
 ‘‘ that laid down for the meeting for the appointment 
 “ of a Special Local Secretary. 
 
 “ This nomination, with the address of the gentle- 
 “ man nominated, must be submitted to the Depart- 
 “ment before the 24th February. If the nomination 
 ‘‘ is approved the packets of examination papers 
 ‘‘ will, in due course, be sent to him ; he will be 
 ‘‘ responsible for their safe custody and distribution 
 ‘‘ to the superintendents of the examinations at 
 “ the various centres.” 
 
 (“ Directory,” p. 12.) 
 
 There are no regulations about the provision of the 
 objects required for the examinations, or the seating 
 accommodation, or drawing-boards. These expenses 
 would fall upon the Amalgamated Examination 
 Committee, or upon the Special Committee, which- 
 ever may happen to be appointed, and they would 
 claim part from the schools sending candidates and 
 part from the Department. As a rule, however, 
 these things are lent or provided by the schools 
 without any formality. 
 
CHAPTER II. 
 
 REQUIREMENTS OF A MODERATE-SIZED ART SCHOOL. 
 
 The following list contains the furniture, casts, and 
 examples necessary for the equipment of a moderate- 
 sized School of Art. At the left hand are the 
 pages upon which the details and particulars of the 
 different items are given. The list is limited to those 
 things which must he regarded as necessary. Some 
 items might be reduced, and others produced on a 
 cheaper scale. Where such reductions can be made 
 they are either mentioned in detail further on, or 
 will occur to any one inquiring into the matter. 
 
 Elementary Room. 
 
 SEE 
 
 PAGE 
 
 
 £ 
 
 s. 
 
 d. 
 
 44. 
 
 50 students’ desks and seats, at 21^. 
 
 52 
 
 10 
 
 0 
 
 63. 
 
 3 blackboards, 6x4 feet, fitted to 
 slide ... 
 
 3 
 
 15 
 
 0 
 
 65. 
 
 Freehand copies 
 
 I 
 
 8 
 
 6 
 
 65. 
 
 Jacobsthal’s 
 
 3 
 
 13 
 
 6 
 
 63. 
 
 3 frames, at 7^. 
 
 I 
 
 1 
 
 0 
 
 66. 
 
 Large copies 
 
 2 
 
 3 
 
 6 
 
32 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 SEE 
 
 PAGE 
 
 
 
 £ 
 
 s. 
 
 d. 
 
 67. 
 
 Freehand casts 
 
 
 1 
 
 0 
 
 0 
 
 68. 
 
 Photographs 
 
 
 0 
 
 15 
 
 0 
 
 63. 
 
 3 small frames, at 2^'. iki. ... 
 
 . . . 
 
 0 
 
 7 
 
 6 
 
 69. 
 
 Models. 2 sets 
 
 
 5 
 
 12 
 
 0 
 
 69. 
 
 Additional models... 
 
 • • • 
 
 3 
 
 8 
 
 3 
 
 50. 
 
 2 stands for models 
 
 
 1 
 
 0 
 
 0 
 
 49. 
 
 Table 
 
 from 
 
 0 
 
 15 
 
 0 
 
 50. 
 
 Pack to bear models 
 
 . . . 
 
 1 
 
 0 
 
 0 
 
 50. 
 
 Pack for boards 
 
 
 5 
 
 0 
 
 0 
 
 72. 
 
 Horizontal blackboard rule 
 
 . . . 
 
 0 
 
 15 
 
 0 
 
 103. 
 
 Pule, set of squares, etc. ... 
 
 . . . 
 
 0 
 
 12 
 
 6 
 
 
 25 water-jars 
 
 
 0 
 
 2 
 
 1 
 
 57. 
 
 Master’s desk, with a drawer 
 
 
 
 
 
 38 X 24 for large copies, and 
 
 
 
 
 
 drawers for drawings 
 
 and 
 
 
 
 
 
 small copies ... 
 
 
 4 
 
 0 
 
 0 
 
 52. 
 
 Hangers for casts, etc. (thongs) 
 
 
 
 
 
 24 feet of wall 
 
 • • • 
 
 4 
 
 16 
 
 0 
 
 
 Intermediate Poom. 
 
 
 
 
 44. 
 
 20 desks, etc. 
 
 21 
 
 0 
 
 0 
 
 70. 
 
 Models 
 
 4 
 
 0 
 
 0 
 
 69. 
 
 Additional models... 
 
 2 
 
 10 
 
 6 
 
 71. 
 
 Additional models 
 
 2 
 
 0 
 
 0 
 
 49. 
 
 Table 
 
 2 
 
 0 
 
 0 
 
 49. 
 
 Low table with wooden back- 
 
 
 
 
 
 ground 
 
 0 
 
 18 
 
 0 
 
ABT CLASSES AND SCHOOLS OF ART. 
 
 33 
 
 SEE 
 
 PAGE 
 
 75. 
 
 Casts for Elementary Shading 
 
 
 £ 
 
 3 
 
 s. 
 
 16 
 
 d. 
 
 0 
 
 76. 
 
 S’ ss ss 
 
 
 2 
 
 5 
 
 0 
 
 78. 
 
 Casts for Advanced Freehand 
 
 
 3 
 
 12 
 
 6 
 
 76. 
 
 Casts for Advanced Shading 
 
 
 5 
 
 13 
 
 0 
 
 52. 
 
 Hangers for 24 feet wall ... 
 
 
 4 
 
 16 
 
 0 
 
 57. 
 
 Master’s desk 
 
 
 4 
 
 0 
 
 0 
 
 44. 
 
 Painting Room. 
 20 desks and seats 
 
 
 21 
 
 0 
 
 0 
 
 54. 
 
 3 painting stands, at £5 ... 
 
 
 15 
 
 0 
 
 0 
 
 
 Cupboards in which to keep objects 
 
 2 
 
 10 
 
 0 
 
 94. 
 
 Objects, etc. 
 
 ... 
 
 5 
 
 0 
 
 0 
 
 82. 
 
 Antique Room. 
 
 Venus of Milo; Dancing Faun; 
 Germanicus ; Discobolus 
 
 21 
 
 12 
 
 0 
 
 82. 
 
 Farnese Hermes ... 
 
 
 10 
 
 10 
 
 0 
 
 82. 
 
 Anatomical 
 
 . . . 
 
 6 
 
 6 
 
 0 
 
 84. 
 
 Statuettes and reliefs 
 
 
 14 
 
 0 
 
 0 
 
 84. 
 
 Busts and masks ... 
 
 
 7 
 
 1 
 
 6 
 
 55. 
 
 6 stands for statues 
 
 
 12 
 
 0 
 
 0 
 
 55. 
 
 4 pedestals ... 
 
 
 2 
 
 0 
 
 0 
 
 55. 
 
 Shelving 
 
 say 
 
 1 
 
 0 
 
 0 
 
 94. 
 
 Articulated skeleton, and part of 
 same ... ... ... say 
 
 15 
 
 0 
 
 0 
 
 
 Table, strong, 2 feet wide 
 
 . . . 
 
 1 
 
 10 
 
 0 
 
 55. 
 
 Stand 
 
 • • • 
 
 4 
 
 0 
 
 0 
 
 52. 
 
 Hangers for masks, reliefs, etc. 
 
 
 3 
 
 0 
 
 0 
 
 45. 
 
 10 easels, at 5^. 
 
 
 2 
 
 10 
 
 0 
 
 45. 
 
 10 tall stools, at 6s. 6d. 
 
 
 3 
 
 5 
 
 0 
 
 D 
 
34 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Life Room. 
 
 SEE 
 
 PAGE 
 
 
 £ 
 
 s. 
 
 d. 
 
 56. 
 
 Thrones 
 
 6 
 
 0 
 
 0 
 
 46. 
 
 10 donkeys, 12s. ... 
 
 6 
 
 0 
 
 0 
 
 46. 
 
 10 easels, at 5s. 
 
 2 
 
 10 
 
 0 
 
 46. 
 
 10 tall stools, at 6s. 6c/. ... 
 
 3 
 
 5 
 
 0 
 
 58. 
 
 Dressing-room 
 
 2 
 
 0 
 
 0 
 
 56. 
 
 Curtain behind, model 
 
 2 
 
 10 
 
 0 
 
 57. 
 
 Master’s desk 
 
 4 
 
 0 
 
 0 
 
 45. 
 
 Design Room. 
 8 tables, 8 feet ; at £1 
 
 8 
 
 0 
 
 0 
 
 43. 
 
 10 chairs ... 
 
 1 
 
 10 
 
 0 
 
 46. 
 
 10 stools, taller than 18 ins.; at 5s. 
 
 2 
 
 10 
 
 0 
 
 62. 
 
 3 Blackboards and fixing... 
 
 3 
 
 15 
 
 0 
 
 72 and 103. T-square and rulers 
 
 1 
 
 7 
 
 6 
 
 
 20 water-jars 
 
 0 
 
 1 
 
 8 
 
 92. 
 
 Photographs for monochrome painting 1 
 
 10 
 
 0 
 
 89. 
 
 Photographs of sculpture (Troca- 
 dero Museum) 
 
 5 
 
 2 
 
 0 
 
 90. 
 
 Grriggs’s photo-chromolithos 
 
 3 
 
 0 
 
 0 
 
 90. 
 
 Sutton’s Studies from Museums ... 
 
 4 
 
 0 
 
 0 
 
 
 Fairholt’s and Mollett’s dictionaries 
 
 0 
 
 17 
 
 6 
 
 91. 
 
 Design books ... ... say 
 
 5 
 
 0 
 
 0 
 
 93. 
 
 Books on Principles of Ornament 
 
 4 
 
 0 
 
 0 
 
 94. 
 
 Books on Anatomy ... say 
 
 1 
 
 5 
 
 0 
 
 92. 
 
 Books on Architecture 
 
 5 
 
 0 
 
 0 
 
 93. 
 
 Books on Perspective, etc. 
 
 1 
 
 3 ^ 
 
 0 
 
 57. 
 
 Master’s desk 
 
 4 
 
 0 
 
 0 
 
 Also books on Plant Form, casts of ivories, etc., 
 cupboard, Bunsen burner, etc. 
 
ART CLASSES AND SCHOOLS OF ART 
 
 35 
 
 
 Modelling Room. 
 
 
 
 
 SEE 
 
 
 
 
 
 
 PAGE 
 
 
 
 £ 
 
 s. 
 
 d. 
 
 79. 
 
 Casts 
 
 say 
 
 6 
 
 6 
 
 0 
 
 47. 
 
 4 large modelling stands . . 
 
 . 
 
 16 
 
 0 
 
 0 
 
 57. 
 
 Bin, trough, etc. ... 
 
 
 9 
 
 0 
 
 0 
 
 47. 
 
 6 turn-tables, at 12^. 
 
 . . ... 
 
 3 
 
 12 
 
 0 
 
 
 Shelving 
 
 from 
 
 1 
 
 10 
 
 0 
 
 
 Master’s Room and 
 
 Office. 
 
 
 
 
 59. 
 
 Material store 
 
 
 4 
 
 0 
 
 0 
 
 60. 
 
 Ladder 
 
 
 0 
 
 10 
 
 0 
 
 60. 
 
 Writing-desk 
 
 
 5 
 
 0 
 
 0 
 
 60. 
 
 Copying press 
 
 
 2 
 
 5 
 
 0 
 
 62. 
 
 Drawers for drawings 
 
 
 9 
 
 0 
 
 0 
 
 62. 
 
 Pigeon-holes 
 
 . 
 
 3 
 
 10 
 
 0 
 
 The following should he 
 
 added if 
 
 possible : 
 
 copper-plate press, carpenter’s 
 
 bench and 
 
 tools, 
 
 silversmith’s blast and tools. 
 
 Even a small provision in this way will be very 
 welcome ; for in the near future technical work will 
 undoubtedl}^ be greatly developed. 
 
CHAPTER III. 
 
 A SCnOOL OF ART — THE BUILDING. 
 
 The Building . — The following are the dimensions 
 suggested by the Department for a School of Art. 
 
 “ For a School of Art the following dimensions are con- 
 sidered to afford adequate provision for 50 students. Pro- 
 portionately increased accommodation must he provided for 
 “ greater numbers, 
 
 “ (ci) One Elementary room 20 X 30 feet. This room should 
 “ not be less than 16 feet high, and may he lighted by 
 “ skylights as well as by side windows. 
 
 “ (5) One room for study from Life or Life-size casts, not less 
 “ than 20 X 24 feet. This room should he lighted 
 “ from the north side by a single large window, the top 
 “ of which (carried up in a dormer if necessary) should 
 “ be at a height above the floor equal to f the depth 
 “ of the room, or if the pitch of the roof he steeper 
 “ than 60°, a skylight should be made in continuation of 
 “ the window, so as to gain the same effect in lighting. 
 
 “ (c) One modelling room 20 X 15 feet. 
 
 “ (cZ) One master’s room 12 X 15 feet. This room should 
 “ be lighted by a side light from the north, if possible. 
 
 “ (e) One cloak-room for females 12x8 feet 6 inches. 
 
 “ (/) A kitchen and bedroom for the attendant, each 12 X 10 
 “ feet ” (“Directory,” p. 114). 
 
 While the following general regulations among 
 others must be adhered to : — 
 
 “ (ii) The rooms for study should be not less than 15 feet high 
 “ to the wall plate, if ceiled fiat, or 12 feet high to the 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 37 
 
 “ wall plate if ceiled to the collar-beams or the common 
 “ rafter. 
 
 “ (Ji) The windows should be large, and in Art Schools, free 
 ‘‘from mullions or small panes” (•“ Directory,” p. 114). 
 
 The above would accommodate the number of 
 students given. The dimensions, which do not 
 include passage, men’s lavatory, etc., square out 
 to 1900 square feet. The Department’s maximum 
 grant of <£500 (which must not itself be more 
 than half the cost) represents 4000 square feet 
 internal, being calculated at the rate of 2^. 6c/. per 
 square foot internal. 
 
 The above scheme is undoubtedly small and 
 inelastic, since for greater numbers the proportions 
 are to be increased without any modification of 
 plan ; and it is very doubtful whether any schools 
 are erected according to the particulars given. 
 
 The art-teaching of to-day requires planning 
 of a more special character. 
 
 Some classes must be isolated in special rooms, 
 others may occupy portions of long rooms. 
 
 Those requiring isolation are Lecture, Life, 
 Modelling, and Technical. 
 
 Those which need not be isolated. Antique, Paint- 
 ing, Design, Elementary. 
 
 The isolation is necessary, on account of sound, 
 in the case of lectures and technicalities, for warmth 
 and exclusiveness in the life, and on account of the 
 dirt in the modelling. 
 
 Then another consideration is that of lighting. 
 The suggestions of the Department, given above. 
 
38 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 speak of a north light for the life-rooms and 
 master’s room only. This is misleading. It is 
 distinctly inconvenient for any of the windows to 
 admit direct sunlight; and it is therefore best for 
 the building to face the north or the east. If the 
 eastern flank of the building face east-north-east or 
 between that and east, it will probably be found 
 that the sun will not enter the windows of that 
 side after 10 a.m., the hour at which most classes 
 commence. All the windows on a side at right 
 angles to this, facing, say, north-north-west, will 
 be free from direct sunlight till 5 p.m. 
 
 Artificial light being used at night there is less 
 need to consider the relation of the windows to the 
 points of the compass, but it is important neverthe- 
 less that the matter should not be neglected. In 
 the light summer evenings the daylight serves, and 
 the opportunity is generally taken for doing colour 
 work. The painting-room and the life-room should 
 therefore be so placed as to avoid sunlight in the 
 summer evenings. East-north-east will be the best 
 aspect for windows. 
 
 If it is found impossible to avoid the use of 
 windows admitting sunlight they should be arranged 
 to serve the classes in Design, Architecture, Free- 
 hand and Model, but more preferably to light the 
 offices, library, staircases, etc. 
 
 Form of Windoivs . — The windows should be 
 vertical and placed high. If the room be 20 feet 
 wide and 15 feet high, the window, or windows. 
 
ART CLASSES AND SCHOOLS OF ART 
 
 39 
 
 may commence 5 feet above the floor, and extend 
 up to the ceiling. If the room be wider the window 
 will commence higher, say 6 or 7 feet above the 
 floor. The space beneath the window is very 
 valuable for hanging casts or frames of examples 
 upon. 
 
 In order to gain a sufEcient height of window, 
 the top of it being at a height three-fourths the 
 width of the room, a dormer may have to be added, 
 or, if the roof is 60° or more in pitch, the window 
 may be continued up the roof as far as is necessary. 
 Great attention inust^ however^ he given to the pitch or 
 slant of skylights. To effectually exclude sunshine 
 the pitch of skylights requires to be greater than 
 architects care to give. The intrusion of even a 
 little sunshine is very troublesome, since it strikes 
 upon the wall or woodwork and makes objectionable 
 reflections. If the skylights are found to be too 
 flat it may be well to add a projecting ledge or 
 board on two or more of their sides on the roof. 
 This is equal to increasing the pitch of the skylight. 
 
 Rooms devoid of windows low enough to be 
 seen through are dismal and unpleasant, and even 
 if a room were lighted by a long high window or 
 a series of high windows, a small casement might be 
 provided at either end in the window wall. Such 
 windows are useful for ventilation. They can be 
 easily opened and closed, and may possibly render 
 openings in the large windows or skylights 
 unnecessary. 
 
40 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Long rooms may need to be divided by banging 
 curtains, or by movable screens, about 5 feet high, 
 and 8 feet long each, or by the two in combina- 
 tion. 
 
 Tye-rods are not always objectionable ; they 
 should not be near together, nor should they be 
 so placed that they cast shadows, but they are 
 not likely to do this unless the window is very 
 small, and of course above them. Windows above 
 tye-rods do not necessarily cause shadows to be cast 
 from them. The rods are themselves useful for 
 suspending curtains. 
 
 The hot-water or steam pipes should not run 
 aloug the skirting, unless this arrangement cannot 
 be avoided, as boards are almost sure to be placed 
 against them. Boards subjected to heat in this way 
 soon split. 
 
 Although the class-rooms should communicate 
 directly with one another, as well as by passages, 
 the doors by which the communication is effected 
 should not be in the middle of the sides of the 
 rooms, but toward the corners, and in such positions 
 as will tend to throw any gangway formed by usage 
 against the walls (unless walls receiving light from 
 the left of a person looking toward them), so that 
 there may be as little interference with the persons 
 working in the room as possible. 
 
 It is important that the modelling be carried on 
 in a separate room, and that a portion of it at least 
 be floored with cement or lead. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 41 
 
 It is further of the very greatest importance 
 that no room should be approached only through 
 another room. The Life room may be accessible 
 only from one of the other rooms, as from the 
 Antique room, but the Life room itself should give 
 access to no room. 
 
CHAPTER lY. 
 
 FURNITURE. 
 
 In this section we shall take a review of the objects 
 of furniture generally found in a well-appointed 
 art school. They may be classed as — Furniture for 
 Students’ use ; Furniture for supporting Examples, 
 etc.; Fixtures and Accessories. 
 
 Furniture * for Students’ Use. 
 
 Different subjects of study require slightly 
 different kinds of furniture. We shall indicate 
 the subjects for which each will be useful as we 
 proceed. 
 
 Single Desk and Seat . — Taking everything into 
 consideration, the most serviceable arrangement is 
 the single desk or small table and seat. The chief 
 advantage is that a student can be turned in any 
 
 Wherever in the following pages the class of Avood is not 
 stipulated it is considered to be yellow-pine. Many of the 
 objects are considered as being of pitch-pine. This is, however, 
 a not very desirable Avood, and The Bennet Furnishing Company 
 inform me that orham, a preferable wood, Avonld be no dearer. 
 
 N.B. — For particulars of furniture under this section, see 
 advertisement, page 1. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 43 
 
 direction independently of his neighbours. In 
 almost all subjects this is a great convenience ; 
 indeed a long straight table is only suitable for 
 Freehand, Geometry, Perspective, Architecture, and 
 Design ; and for the last four it is better than 
 separate tables, necessarily small, as more space is 
 provided for instruments and hooks. 
 
 Small separate desks will be suitable for Free- 
 hand, Model, Shading Models, Shading Cast, Still 
 Life, and may be further utilised as we shall 
 indicate. 
 
 The space occupied on the ground by a student 
 working at one of these separate desks is, including 
 gangway behind the student for the master or 
 students to pass along, 4 feet 9 inches x 2 feet wide, 
 or square feet. Even with the simplest class 
 of desk and seat this area can hardly be 
 diminished. 
 
 The simplest and cheapest form will be — 
 
 Tall Stool., top about 23 x 7 inches, legs spread- 
 ing as they descend, but not beyond the 23 inches 
 one way, or 16 inches the other. 
 
 Cost, in cheapest form, morticed, 6s, 6d. each. 
 
 Stool or Chair . — Chairs can be had at no greater- 
 cost than the plain four-legged stool or the box- 
 seat. Strong serviceable chairs are quoted at 2^. 9d 
 each. 
 
 Our lowest estimate for seatino; accommodation 
 will then be about 10<§. per student. 
 
 The tall stool or narrow table we have just 
 
44 GUIDE TO ESTABLISHMENT AND EQUIP2IENT OF 
 
 considered is not, however, the most serviceable form 
 of student’s table. Its smallness is lost by the 
 necessary spreading of its legs ; however, the 
 legs of one, unless staved, can be set within those 
 of others, these tables can be crowded together in 
 a manner impossible with the next type we shall 
 consider. 
 
 Student's Desh . — A somewhat heavy desk with 
 a sloping top of considerable area, say 24 x 18 inches, 
 is in use in some of our schools. It may have a 
 projecting ledge to support pens, brushes, or the 
 water-jar ; a shelf beneath ; a foot-rest ; and a light 
 rack, not unlike a hurdle, to fit into two square 
 holes in the desk top, and for the support of casts, 
 copies, etc. These desks afford ample space for 
 most studies. 
 
 Cost, say 155. each ; racks, \s, each extra. 
 
 One objection patent to every one using these 
 desk-tables is the uncompromising slope of the 
 slanting top. Sometimes the permanent slope is 
 suitable to one’s work, but very frequently it is 
 either too inclined or not inclined enough, and one 
 has recourse to a drawing-board to supply the 
 required angle. This deficiency may be obviated 
 by the employment of a desk top, hinged so as to 
 allow of its being placed at any desired angle, or, 
 what also is useful, being lowered to the horizontal. 
 
 Desk with Variable Top . — Such a piece of furni- 
 ture should be of great service in an art school. 
 The author has drawn a design for a desk answering 
 
ABT CLASSES AND SCHOOLS OF ART. 
 
 45 
 
 these requirements ; particulars will be found in the 
 list appended to the “ Guide.” 
 
 Cost, ISs. each. 
 
 Chairs . — We have before said that chairs are 
 quoted at 2s. 9d The prices range up to i)s. 
 or 65. for a High Wycombe chair. The seat must 
 not slope backward very much, as this induces the 
 student to sit at ease rather than up to his work. 
 Quotations for simple four-legged stools will be 
 found to be at least 4^. 
 
 Desk and Seats . — We have seen that the lowest 
 estimate (tall stool and chair) is about 10s. per 
 student ; for a heavier desk, as above described, with 
 a serviceable chair, £l or £1 Is. per student should 
 be allowed. 
 
 Forms. — These, of whatever variety, are unsuited 
 to the work of an art school. 
 
 Long Tables., say 6 feet or 8 feet x 1 foot 9 inches 
 wide and 2 feet 5 inches high, are best for Advanced 
 Design, Architecture, and for any subject which 
 necessitates a number of instruments, books, or 
 papers. 
 
 Cost from £1. 
 
 Chairs or stools should be used with these tables, 
 not benches. Stools, rather taller than 18 inches, 
 and with sloping tops, will probably be preferred by 
 advanced students, as they throw one forward to 
 one’s work. 
 
 Easels will be necessary for Painting, Antique, and 
 Life-drawing. Height, 6 feet ; timber, 3 inches x f 
 
46 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 inch. These should have a long hinge at the head, 
 and should be braced below by a foot-bar, on the front 
 of the legs. The back leg should be a little longer 
 than the two front ones, and the peg-holes should 
 be inch. 
 
 Cost, say 5<§. each. 
 
 Tall stools are often used for working at easels, 
 and should be provided in the antique, painting, 
 and life rooms. 
 
 Donheysy — A ‘‘donkey” is, perhaps, as good 
 a seat and rest for drawing from life as can be 
 desired. If made rather narrow in the back it may 
 be used by ladies. The chief objection to the 
 “ donkey ” is that it is useless beyond its proper 
 function. This is really not a very sound reason, 
 and one would think that a piece of furniture 
 specially adapted to its use would recommend itself 
 to any one. There is a desire latent in almost all 
 governing bodies, however, to make everything 
 serve as many purposes as possible. The result 
 is, of course, an ill adaptation to the specific use for 
 which the article is originally provided ; but this is 
 too often deemed only a slight disadvantage. 
 
 Cost 125. each. 
 
 For the Modelling Room we shall require stands 
 of two kinds — turn-tables and fixed stands. 
 
 Turn-tahle . — The most convenient form of turn- 
 table is three-legged, with a tray between the legs 
 about halfway up, and a circular top in which is a 
 hole. Down into this hole fits a short but thick pole. 
 
ART CLASSES AND SCHOOLS OF ART, 
 
 47 
 
 which serves as a pivot for the square board from 
 which it depends to revolve upon. The square 
 board should be of two pieces of wood, the grain 
 placed cross-wise to avoid warping. Sometimes 
 instead of the pole there is a screw which allows 
 the square board to be raised at different heights. 
 This convenience is, perhaps, more than neutralised 
 by the unsteadiness it involves. Sometimes the 
 square board runs by means of rollers on the circular 
 top. These are liable to clog, and it will be found 
 that the one board will play successfully upon the 
 other if black lead be placed between them as a 
 lubricant. Four-legged stools are not so steady as 
 three-legged. The height of these turn-tables may 
 be 3 feet. Sometimes taller ones are made for busts, 
 but their extra height does not bring commensurate 
 convenience when the fact is taken into considera- 
 tion that, except as stands for busts, these are 
 lumber. Cost in orham, I 65 . ; in oak, 18s. 
 
 Such a stand as here recommended is illustrated 
 on one of Messrs. Lechertier, Barbe, and Co.’s lists, 
 and is quoted in oak at 35s. and 40s. 
 
 Large Stands . — A stout framework of 2 t-inch 
 material is braced horizontally twice, and thus 
 forms the legs, or support, of the stand, and also 
 two shelves on which to keep models. The out- 
 side measurements of this frame may be about 
 4 feet X 20 inches. The top of the stand is similar 
 to a table, but with the following differences : it 
 projects some 4J inches over the front or long sides 
 
48 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 of the frame, but does not project at the ends ; its 
 projection on the long sides is carried by bars pass- 
 ing across the ends. These bars must be deeper 
 than wide, as they have to support whatever weights 
 are put on the stand, and sometimes these are great. 
 
 The table-like top of the stand need not cover 
 the whole frame, for over the frame two surfaces 
 of boarding form a kind of roof meeting over the 
 centre of the stand. Against these surfaces, which 
 slant at about an angle of 65°, the modelling-slabs 
 rest, their chief weight coming upon the shelf-like top 
 already spoken of, and of which only some 8 inches 
 will be visible at either side. It will be best for the 
 slanting surfaces to rest at the top against a hori- 
 zontal bar, which may itself support a long narrow 
 shelf, useful to stand casts upon. The horizontal bar 
 should be supported by uprights rising at either end 
 of the stand, and rising so high, say 6 feet over 
 all, as to allow another bar to pass along some 
 distance above the shelf, and from which casts may 
 be suspended, or to which they may be secured. 
 
 Such a stand as described serves very well for 
 all kinds of modelling (but in the round), both 
 elementary and advanced. Students may work at 
 both sides, but it is rarely that the light is favour- 
 able for both sides at the same time. 
 
 Probable cost, in orharn, 4 feet, T2 16s. ; 5 
 feet, £3 ; 6 feet, £3 16s. In oak, 4 feet, 
 £8 6s . ; 5 feet, £3 1 2s. ; 6 feet, £4 lAs. 
 
ART CLASSES AND SCHOOLS OF ART 
 
 49 
 
 Furniture for supportixu Examples, etc. 
 
 Freehand . — There will be no special require- 
 ments for this, the blackboard being entered else- 
 where (page 63). The racks upon the students’ 
 desks are very useful for supporting copies, and 
 should be provided if possible. 
 
 Model Drawing . — The geometrical models are 
 placed at different altitudes above the floor. Pro- 
 vision for their support must therefore be made. 
 The most essential of all are low toMes^ with tops 
 22 X 30 in. (imperial), and supported on stout 
 legs. Cost, say, 15<§. to I85. if the top be painted 
 white. The height to the underside of the top, 
 18 inches ; the top should be about an inch thick. 
 These low tables fulfil the requirements of the 
 Government examinations, though the size of the 
 supporting surface or its height above the floor are 
 liable to variation. The conditions are, however, 
 likely to be very generally used, as an imperial 
 board and an 18-inch seat are unmistakable. 
 
 A wood background, painted light grey, hinged 
 to the back, and itself in 3 leaves so as to enclose 
 the models, hut not closely, might be^advantageously 
 added for use in shading from models. 
 
 If space permits, a table^ 2 feet 6 inches high, 
 may be added ; one will be necessary for shading 
 from models. Cost from 1 bs. 
 
 The advantage of having the low table instead 
 of placing an imperial board upon the universal 
 
 E 
 
50 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 L8-inch stool, is that both stool and board are likely 
 to be pressed into other service upon emergency, 
 and this must be avoided. The top of the small 
 table should be painted a pale warm grey. 
 
 There are also in the market stands for sup- 
 porting several copies of a model at different 
 heights ; Ahletfs stand is one of these (cost £1 Is.) : 
 and there are also stands with a grip arrangement, 
 to hold the models in any position, in the air (cost 
 £1 to £1 185.). For these stands the models 
 require a projecting flange for the vice to grip. 
 
 Rack to keep Models upon. — A rack somewhat in 
 the form of a dinner-waggon is better than shelving 
 for keeping models upon. It may be quite simply 
 made, and would cost say £1. There should be 
 18 inches space between the shelves of it. This 
 is, of course, an article of furniture which can 
 easily be dispensed with, but it would add to the 
 tidiness of the room. 
 
 Rack for Dr awing -hoards. — The boards should 
 certainly be put away somewhere, either stood on 
 edge in cupboards, or lockers, or in racks sjDecially 
 provided. The common form of rack is divided by 
 vertical partitions into a number of narrow com- 
 partments, each of which takes one or more boards. 
 It is best to arrange for each compartment to take 
 one board only ; the expense is greater, but there 
 is a great saving of trouble afterwards. For the 
 pushing of one board into a compartment already 
 occupied by another very frequently ploughs up the 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 51 
 
 paper of one or other of the two, if not of both. 
 Even in well-ordered classes it is impossible to avoid 
 this. The compartments may be about inches 
 wide for half-imperial, and 1^ inch for imperial 
 boards, and the dividing strips inch. The boards 
 may slip in either upon their long or short edges, 
 the difference being that if on the long edges the rack 
 will be deeper from front to back, but not so high. 
 With compartments of the size given, and a depth 
 for the rack of 24 inches, a front width of 5 feet 
 3 inches and height of 6 feet would accommodate 
 60 imperial boards in two rows ; or a front width 
 of 4 feet 3 inches and height of 5 feet 6 inches 
 would accommodate 90 half-imperial boards in three 
 rows, allowing 9 inches for plinth and 18 inches 
 per board. 
 
 Cost of these racks £5 each. 
 
 The rack may be constructed with one row for 
 imperial and one or two rows for half-imperial 
 boards. A cheap form of rack might be arranged 
 somewhat like a book-slide — a low table with 
 uprights at each end, from 15s. 
 
 Cast Drawing and Shading . — Provision will have 
 to be made for hanging casts up, both when in and 
 out of use. As far as possible one position should 
 serve both ends. Wall space lighted from the left 
 will therefore be most valuable. The wall may be 
 prepared in one of the following ways : — 
 
 (1) Strips of pitch-pine, say 3 or 4 inches wide, 
 may be screwed to the wall previously plugged ; 
 
52 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 and into the strips, hooks or stout wood-screws 
 may be screwed. 
 
 Cost, moulded on each edge and varnished, 
 
 about 8(i. per foot. 
 
 These strips should, if possible, be let in flush 
 with the surface of the wall. One strip may be 
 4 feet 9 inches above the ground, another 7 feet, 
 and perhaps another 10 feet. 
 
 (2) A rod, say gas-tubing, 1 inch or more 
 diameter, may be carried upon hooks screwed to 
 a pitch-pine strip, as above, or to a beam built 
 into the wall, or upon hooks built into the wall. 
 From these rods thongs of steel (Tonks, Limited, 
 Birmingham) may hang by loops riveted at the 
 ends of them. These thongs are slotted, and receive 
 steel or brass hooks to support the casts. The con- 
 venience of these thongs and hooks is that the casts 
 can be placed at any height or position. 
 
 Cost : Pitch-pine strip and plugging, say 8<7. per 
 foot. 
 
 Brass hooks to support rods, say 2^. per 
 dozen. 
 
 Gas-tubing, bronzed, brazed, 1-inch, 
 per foot. 
 
 Thongs, J-inch, 6-feet lengths, 8(i. per foot 
 = 45. each. 
 
 Hooks, steel, II 5 . 6<i. per gross. 
 
 ,, brass, 155. per gross. 
 
 Messrs. Tonks also issue a Copper Picture Chain 
 at 145. 6c/. per dozen yards, which serves the same 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 53 
 
 purpose as the thongs. The price for 2-jard strips 
 is 2^. bd. as compared with 4^. for the thongs, but 
 the additions necessary raise the cost considerably. 
 Then if we suppose the chains to occur every 
 1 8 inches, the cost of wood strip and chain is 3^. 
 
 Stands for Casts . — If there is insufficient wall 
 space, or the walls cannot be used, stands must be 
 provided to support the casts. The most comfort- 
 able to work at, and at the same time the most 
 convenient and safest, are in screen-form. Size, 
 say, 8 feet long, 5 feet high ; boarded vertically or 
 horizontally, not diagonally ; and standing on stout 
 feet strutted to the end posts. They may be 
 boarded on both sides, and the thickness from front 
 to back may taper upwards. The top bar, which 
 should be stout, may receive screws or hooks; or short 
 pieces of slotted thong, as on the walls, may hang 
 over the top, and thus allow the casts to be hung at 
 various levels, being at the same time quite removable. 
 
 Cost in pitch-pine, say, £2 each. 
 
 At about 2 feet 6 inches above the floor a shelf 
 7 inches wide may project. The style and quality 
 of these stands could easily be modified and the cost 
 reduced. 
 
 Poles upon cross feet are sometimes used for 
 supporting casts. Though convenient in many 
 ways, two great objections can be urged against 
 them. They provide no background to the cast, 
 and consequently the student is troubled by the cast 
 being surrounded by a probably varying view of 
 
54 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 the other part of the room. And again, the ease 
 with which poles can be carried about and set in 
 almost any position in the room induces a straggling 
 character into the arrangements ; and further, much 
 of the teacher’s time is taken up in fetching, carry- 
 ing, and altering. 
 
 It cannot be too strongly urged upon Com- 
 mittees that the artificial lighting of the rooms 
 should repeat as nearly as possible the effect of the 
 daylight. If this is done there will not have to be 
 a great shifting of casts, after the day classes, to 
 suit the evening students. 
 
 Painting Stands . — The groups for still life 
 painting will be most conveniently placed upon 
 long tables : top, say, 8 feet x 20 inches, with a 
 permanent strong vertical background at one side 
 (similar to the back of a chair), boarded all up. 
 Beneath the table, and part of it, may be a rack 
 with 4-inch apertures to receive canvases in pro- 
 gress. The background may reach to the height of 
 6 feet above the ground. The flat table will be 
 about 2 feet 3 inches above the ground ; and about 
 2 feet above it a shelf, 12 inches wide, may project 
 from the back. If the background is of oak, 
 slightly greened with stain, and panelled, it will be 
 useful as a background. 
 
 Cost with rack £4 to £6. 
 
 Such stands as these will only be necessary if 
 the groups have (by reason of the room being a 
 long one) to stand in the middle of the room. If 
 
ART CLASSES AND SCHOOLS OF ART, 
 
 55 
 
 possible a wall will be chosen against which to 
 place the groups. In this case a table only is neces- 
 sary, but it may have canvas racks beneath it, or the 
 racks may be separate. Separate racks of course take 
 up more floor space and do not decrease cost. 
 
 Antique Statues and Busts. — The statues will 
 require platforms on good castors ; the busts, shelves 
 or pedestals. 
 
 Platforms for Statues. — These must be specially 
 made to suit the statues. The height is generally 
 2 feet G inches, and cost about 505., in yellow pine. 
 Redwood painted would be stronger, and cost 
 about £2. 
 
 Pedestals to support Busts and Statuettes. — Vertical 
 sides, as these do not catch the dust like slopiug, 
 pyramidal sides. These pedestals will not require 
 castors. Height, about 4 feet, and cost about IO 5 . 
 
 The wall behind the antiques should be kept 
 clear and without dado, or with one only about 
 2 ft. 3 in. high. Shelving, which will receive a 
 good light both during the day and evening 
 classes, will be valuable as support for busts, 
 statuettes, etc. Pedestals should be dispensed with 
 as much as possible. 
 
 Stands may therefore be arranged to occupy 
 positions within the room, and may consist of 
 tables 2 feet 3 inches high, with a plain and 
 permanent background, and a strong shelf 4 feet 
 above the ground for busts. Length, say, 10 feet. 
 
 Cost about £4 or £5. 
 
56 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Platform or Throne for Life Model . — Thrones 
 vary so much that it is impossible to lay down a 
 plan of what is best, since there are points for and 
 against all forms. The height of the throne is 
 either about 18 inches, or about 30 or 36 inches. 
 For the nude the latter measurement is perhaps 
 the better, the former for the costume model, or 
 head. The lower platform may not improperly 
 stand before the higher, or they may both be on 
 castors and therefore readily movable. The cost 
 of a platform 5 feet x 3 feet x 3 feet high would be 
 about £3 (with castors). The lower platform might 
 with advantage have a turn-table top, a contrivance 
 invaluable in modelling. The turn-table would 
 have to rest on rollers. Its size might be 4 feet 
 square. The cost would probably be about £3. 
 
 We need not here consider more elaborate 
 thrones, as where there is any idea of providing 
 them there will be masters to consult. It is well, 
 however, if arrangements can be made for the 
 model to lean against a wall, and also for a cord 
 to be suspended above the model to support an 
 uplifted hand. 
 
 In all probability a curtain, perhaps grey-green 
 in colour, will have to be provided to form a back- 
 ground to the model. It should measure about 
 9 feet high and 12 feet wide, and would cost from 
 25s. according to the quality of the material. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 57 
 
 Other Necessary Furniture. 
 
 Master s Tables . — In each class-room there should 
 be a table, desk, or chest in which drawings can 
 be placed when finished, and awaiting transmission 
 to the head-master’s room. The drawers should he 
 not less than 33 x 24 inches for advanced work, or 
 24 X 18 inches for elementary work. Some masters 
 prefer double imperial drawers, 50 x 33 inches. So 
 much depends upon the special requirements of the 
 case that the size and style of these desks or tables 
 need not be considered further. The lower part may 
 with advantage be cupboards, and perhaps should be. 
 
 Clay-Bins . — One bin divided into two. The 
 smallest size may be taken to be for each bin 3 ft. x 
 2 ft., and 2 ft. high at back, and 14 inches high at 
 front. These should be of slate, say, 1 and inch 
 thick ; and should have wooden lids lined with zinc, 
 which is lighter than lead. 
 
 Cost of bins and lids about £6. 
 
 Plaster- Bin with Lid. — Say, 25 x 18 inches, and 
 16 inches high at back, and 13 inches high in front, 
 on framed legs, 15 inches high. Cost, dovetailed, 
 pitch-pine, say, 25s. This need not be lined. 
 
 Casting Table . — 8 feet x 2 feet 6 inches x 2 feet 
 6 inches high. Yellow pine. Cost, say, 126*. 
 
 Trough. — Earthenware, say, 3 feet 6 inches x 1 
 foot 8 inches internal measurement, and 14 inches 
 high at back, and 7 inches high at front, raised from 
 ground so that the front edge is about 2 feet 6 inches 
 
08 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 above ground. Tlie outlet pipe must have a screw 
 cap, to permit cleansing. Water-taps provided over 
 this trough. 
 
 Cost of trough from 205 . 
 
 Bunsen Burner of good power, with small tripod, 
 and upon a table in the design-room. 
 
 Rack for Dr awing -hoards. — A less expensive 
 rack, and serviceable in a class in which the papers 
 are collected from the boards, is similar to a large 
 book-slide ; that is, it has a flat bottom Avith two 
 upright ends, which may be continuations of the 
 legs below. 
 
 Cost, say, 125 . 
 
 Life-ModeV s Dressing-room, — Some arrangement 
 must be made for this purpose. Possibly a corner 
 of the life-room can be curtained or screened off. 
 
 The cost will be at least Tl. 
 
 Museum Cases . — Cases in which objects of art 
 can be displayed are very necessary. It is a poor 
 locality that cannot lend a few interesting objects, 
 and it is important that provision should be made 
 for the exhibition, under lock and key, and as safe 
 from dust as possible. Cases with glass on all sides 
 and also at the top are best. 
 
 Bookcases. — Exactly what form the shelves for 
 books should take will depend very much upon the 
 accommodation at the disposal of the Committee, and 
 upon the arrangements they are obliged to make. 
 The space beneath the museum case may be utilised 
 as a bookcase. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 59 
 
 Material Store. — Drawing-paper, pencils, can- 
 vases, and a few other materials are generally 
 supplied in the school. If the school be small, 
 accommodation can he made in one of the chests 
 or tables which will surely be provided ; but if the 
 school reaches the proportions of a school of art,” 
 a separate chest should he provided. It may have, 
 say, four drawers below and five or six shelves 
 above, in which latter the paper will lie flat. The 
 dimensions should be not less than 32 inches by 24 
 inches in width and depth, and 4 inches or more 
 may be left between the shelves for the paper. 
 One at least of the drawers should be divided for 
 the proper separation of the different articles. 
 
 Cost from 50s. 
 
 Cupboard . — A cupboard will be valuable in the 
 design-room, where dry colours, oils, etc., are likely 
 to be in frequent use. 
 
 Lockers . — It is a great convenience to students 
 to be able to lock up their colour-boxes, etc., in the 
 school. For this purpose chests of lockers are pro- 
 vided in some schools. They may stand in the 
 corridors, and any apparently useless corner may 
 be utilised by the means thus afl’orded. The lockers 
 should, if possible, be large enough to take an oil- 
 colour box ; perhaps 18 inches wide by 12 inches 
 deep by 10 inches high is the smallest useful size. 
 
 Students may hire these lockers at Is. or 2^. 6d. 
 a year, and leave Is. for the key. 
 
 Hat and Coat Hooks, etc . — There is no necessity 
 
60 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 for US to more than mention these matters. There 
 will be numerous expenses of a similar class, which 
 are not likely to be forgotten. 
 
 Ladder , — There should he a light ladder by 
 which to reach the higher casts. 
 
 Head-Mastei' s Room . — In most schools of art a 
 private room is provided for the head-master ; and 
 it is generally lighted from the north or north-east, 
 so that it may serve as a studio. 
 
 By “ head-master’s room ” we mean, here, that 
 room in which the master does that part of his work 
 which is concerned with organisation and super- 
 vision, rather than with actual teaching. Here he 
 may interview students, and here the drawings, or 
 other works executed, may he mounted and kept. 
 
 We must provide the following pieces of furni- 
 ture: — 
 
 Table . — 9 feet by 4 feet 6 inches, at least. 
 
 Cost, from £3. 
 
 Writing-Desk, or Secretaire. — Cost, from £5. A 
 legged writing-table, with locked drawers, etc., is 
 quoted by one firm at seven guineas, packing and 
 carriage extra. The desk should have drawers 
 which will take foolscap size, and there should be 
 at least six of them. 
 
 Copying Press . — Foolscap size. 
 
 Cost, say, £2 iSs. 
 
 Draivers in which to keep Drawings . — Different 
 masters will arrange these in different ways, but 
 all will agree in having a large number of them. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 61 
 
 Sometimes, it is true, the drawings are all placed in 
 one drawer irrespective of their class or kind ; but 
 this is hardly likely to he in a school which is well 
 organised or in which reference is occasionally, if 
 not constantly, made to the students’ records. The 
 mounting of the drawings, the sending of them to 
 Kensington, or the arranging of them for exhibi- 
 tion or delivery to the students, are operations all 
 facilitated by a previous orderly arrangement. 
 Sometimes this will he by subject, or according to 
 class. That is, all the designs may go into one 
 drawer, all shadings into another, and so on ; or 
 each drawer may represent a letter or two letters 
 of the alphabet, so that all C’s works are together 
 in one drawer, and can be immediately found. The 
 arrangement of these matters will generally be left 
 to the master who is going to carry them out, but 
 it may be of service for us to say a word or two 
 more upon the matter. 
 
 For preparing for sending to Kensington the 
 works have to be in alphabetical order some time^ so 
 that the alphabetical arrangement will be of assist- 
 ance in this case. For local prize competitions the 
 arrangement by subject will be better ; but, of the 
 two, precedence should lie with the sending to 
 Kensington, because the bulk of drawings will be 
 greater. The drawers might indeed be used subject- 
 wise till the local competition, if the date of that 
 falls before April 1st, and these may be lettered 
 alphabetically, to receive the drawings after the 
 
62 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 competition, and to hold them till they are packed 
 for Kensington. Probably twenty-four drawers 
 will be sufficient, and of these some may hold three 
 letters or more, leaving perhaps four drawers for 
 holding test-drawings, etc. 
 
 Some masters prefer imperial-sized drawers, some 
 double-imperial, and we need not remind our readers 
 that twelve double-imperial drawers will equal 
 twenty-four imperial ones in capacity if their depth 
 be equal. Internal measurements, say, imperial — 
 34 inches by 25 inches, by 6 inches deep ; or double- 
 imperial — 50 inches by 34 inches, by 8 inches deep. 
 
 Cost of 24 imperial drawers in yellow pine 
 probably <£!). 
 
 The top of the whole set of drawers should not 
 be more than 3 feet 3 inches high. If only 2 feet 
 9 inches high the table before-mentioned may be 
 dispensed with ; for the sorting and cutting which 
 would be done on the table could then be done on 
 the set of drawers, which would, however, take up 
 more floor space if low, and also be rather more 
 expensive. There is little doubt, however, that a 
 table will be required for other purposes. 
 
 Canvases, clay models, and the like could be 
 accommodated in ’ large pigeon-holes^ which may 
 either stand upon the floor, or be fastened against 
 the wall above, but not upon the set of drawers 
 unless the supports were only at the ends and did 
 not interfere with the open space of the top. It 
 will be best to keep the top of the drawers clear, as 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 63 
 
 sometimes a great deal of space is required for 
 sorting and examination. 
 
 Cost £3 IO 5 . to £4. 
 
 In all these furnishings the more space and 
 surface provided the better. 
 
 Blackboards . — These will be necessary in the 
 elementary, lecture, and design rooms. They may 
 be either loose to place on easels, or already mounted 
 on stands, or fastened to the walls. If against the 
 walls (the preferable arrangement) two or three 
 may be hung or placed together, either to pull up 
 by means of pulleys, or to slide before one another. 
 The latter is the cheaper and for some things pre- 
 ferable arrangement. Cost of such, 6 feet x 4 feet, 
 with fixing, £1 to 25^. each. * 
 
 Frames ^ will be needed for displaying examples 
 in. A few should take a paper 36 x 24, a few 
 24 X 16, but most 30 x 22. They should have 
 wooden backs readily removable. Those issued by 
 Messrs. Mansell and obtainable of Messrs. Chapman 
 and Hall are very suitable. The form has been 
 specially modified to suit the requirements of Art 
 Schools. 
 
 ^ For particulars, see advertisement, pages 1 and 2. 
 
CHAPTER Y. 
 
 COPIES AND MODELS* NECESSARY FOR TEACHING FREE- 
 HAND, MODEL, GEOMETRY, AND PERSPECTIVE. 
 
 Freehand . — The copies placed before the students 
 are either printed on paper or cardboard, or are 
 drawn upon the blackboard before the class. Some- 
 times large copies or very simple casts are sub- 
 stituted. A school must certainly be provided 
 with — 
 
 Small Copies for individual students; 
 
 Large Copies to place before a class, or several 
 students ; and 
 
 Simple Casts. 
 
 Numerous sets of small freehand copies are in 
 the market. Choice should be made of those printed 
 in bold line, and in which construction and massing 
 are evident, and in which also forms are used which 
 it would be well for the student to remember. As 
 those who find themselves obliged to make some 
 choice may know little of these matters, we shall 
 
 * For particulars of copies, models, etc., under this section, 
 see advertisement, pages 2 to 6. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 65 
 
 mention a few sets which have come under our 
 notice, for their guidance. 
 
 E. R. Taylor, Freehand Examples, 60 cards, 
 7 by 5 inches, bs. 
 
 F. Gr. Jackson, Freehand Cards, 150 cards in 
 5 sets, 11s, 
 
 Bacon & Co.’s Freehand Cards, Standards YI. 
 and YIL, 36 cards, 2^. 
 
 Bacon & Co.’s Freehand Copies, 24 cards in 2 
 sets, 35. 
 
 Frazer’s Renaissance Ornament, 2 books, 3c?. each. 
 
 Poynter’s South Kensington Freehand Copies 
 (cards) — 
 
 Elementary, 4 packets, dd. each, = 35. 
 
 First Grade, 6 packets, I5. each, = 65. 
 
 Second Grade, 4 packets, I5. 6c?. each, = 65. 
 
 All these have something special to recommend 
 them. The first embody the experience of the 
 eminent head-master at Birmingham ; the second, 
 by the well-known author of text-books on Design, 
 are beautiful in form ; the third are carefully 
 systematised ; the fifth well illustrate a kind of 
 ornament which has been very extensively used by 
 the examiners for the Department in the May Ex- 
 aminations. Poynter’s being largely renderings of 
 pieces of historic design, have special interest on 
 that account. Some of the lines, the Frazer’s for 
 instance, may be doubled. 
 
 Large Copies . — The finest large copies are, 
 perhaps — 
 
 F 
 
66 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Jacobsthal’s ‘'Grammatik der Ornamente/' 7 parts 
 of 20 plates each, immounted, £3 135. 6r7. ; mounted 
 on cardboard, £11 45. The parts may be bad 
 separately, unmounted, IO 5 . 6c?. each. 
 
 Then, beside these, there are — 
 
 E. R. Taylor’s Enlarged Diagrams (same designs 
 as the small cards), elementary set of 30, 95 . ; 
 advanced ditto, 05 . 
 
 Bacon’s Freehand Charts, 24 designs on 12 
 boards, IO5. 6<7. 
 
 Hatton’s Charts of Ornamental Details, 155. 
 
 We shall not doubt that in most schools the 
 elementary part of freehand study will be done 
 from the blackboard. It is in many ways the best 
 method. What, then, are the printed copies for ? 
 So long as there are Government examinations there 
 must be work of a similar character done in the 
 school ; and, moreover, there is nothing against small 
 copies, except that the work from them is hardly 
 objective enough, and has a touch of the impractical 
 character of desk-work. The large copies are in 
 some ways even better than the blackboard draw- 
 ings ; they are actual things,” or some of them 
 are, and it is actual and objective work that must 
 be fostered as much as possible. And we might 
 almost make this rule, that, good as copies w^hich are 
 merely exercises may be, the less permanently they 
 are before the student the better. Thus such forms 
 as stars, Greek honey- suckles, and the like are 
 necessary and valuable early exercises, but it is 
 
AllT CLASSES AND SCHOOLS OF ART. G7 
 
 questionable whether printed examples are needed 
 of them. Very probably the very fact of a student's 
 seeing a permanently printed example of such forms 
 sows the seed in his mind which produces that 
 inartistic and unnatural “belief” that freehand is a 
 methodical, dull, and distinctly penal business, and 
 no amount of beautiful copies will clear his mind of 
 it. Now, it must be well known to most people, 
 that many published freehand copies are teaching 
 examples and nothing else ; they have neither 
 nature nor beauty, except what is occasional and 
 accidental. All such should be excluded, and the 
 kind of diagram they illustrate drawn temporarily 
 on the blackboard, and then relegated to the past. 
 
 On the other hand, diagrams which have a 
 natural or decorative beauty, for instance Nos. 57, 
 58, 59, 60, 37, 38, 39 and 40 of Poynter’s Ele- 
 mentary S.K. drawing-book, are joys for ever, and 
 good freehand copies as well. And following the 
 thought onward, the larger the printed copy the 
 more necessary it is that it should depart from a 
 mere teaching example. 
 
 The copies named above will be found to accord, 
 on the whole, with what has been said above. If 
 selections are made, we would advise ordering first 
 the most advanced numbers on each line ; the 
 elementary numbers may merely repeat the black- 
 board work. 
 
 Freehand Casts, etc . — In connection with what 
 has been said above, such flat casts as those recently 
 
68 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 published by Brucciani, of panels from the Tomb of 
 St. Antonio, at Padua, may be mentioned as very 
 suitable. The size of each is about 24 x 20 inches. 
 Nos. 9-5 and 10-6 seem such as one might select. 
 Cost 3s. each. 
 
 The Jacobsthal’s will provide us with a number 
 of designs sufficiently complete, too, drawn on a 
 large scale and carefully tinted, and perhaps outlined 
 with the brush. To them we may add Tarsia out- 
 lines, though these are, unfortunately, drawn in a 
 very thin line. Photographs, such as those of 1 1 
 Pilasters from Certosa of Pavia,” 15^. nett, may be 
 given to intelligent students for enlargement and 
 flat washing. 
 
 Of the Jacob thals one must say that they are 
 unequal in interest and complexity, but not in value, 
 and should certainly be included in the list. If a 
 school cannot aflbrd the price of the whole set 
 mounted, the whole set unmounted should be had, 
 and several frames provided to exhibit them in, as 
 well as an imperial-sized drawer to hold them. 
 See page 63. 
 
 Model Draiving . — In almost all art classes the 
 study of model drawing commences with the draw- 
 ing of geometrical models, cubes, prisms, cylinders, 
 and vases. The syllabus of the Department’s 
 examination in the elementary stage sets down the 
 number and kinds of models as follows Cube, 
 large ; cone ; cylinder ; hexagonal prism ; trian- 
 gular prism ; square prism square pyramid ; ring ; 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 69 
 
 vase — long - necked bottle ; vase — wide - mouthed. 
 Since the size as well as the kind is also determined, 
 these should be purchased from some firm recognised 
 as supplying the correct models. 
 
 Cost, £2 165. net. 
 
 If possible, two sets or more should be provided, 
 as it is convenient when explaining the drawing of 
 a particular object to have more than one example 
 of it in the group fixed. 
 
 The above are all the models specified on the 
 syllabus, and therefore, from a sordid point of view, 
 all that are necessary. We should propose, there- 
 fore, that the numbers of geometrical models be 
 increased, even for the study of the elementary stage ; 
 for we take it that the passing of examinations is 
 not the end and aim of life, though the Kensington 
 system has done its best to make it so. 
 
 We will add, then, the — 
 
 Skeleton cube, 6s. 3d. net. 
 
 Majolica vase, 85. 6d. net, and the 
 
 Small cube, 35. net, from the advanced set ; and 
 also — 
 
 Pentagonal prism, 6s. 6d. net. 
 
 Treble cross, 55. net. 
 
 Disc, 55. 6d. net. 
 
 Half disc, 45. net. 
 
 Hexagonal slab, or short hexagonal prism, 6s. net. 
 
 Frame, 45. net. 
 
 Flexagonal pyramid, 6s. 6d. net. 
 
 Triangular pyramid, 6s. net. 
 
70 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Vases of a shape more suitable for the early 
 teaching of the round form, 5^. and 65 . 
 
 There are many other shapes published, as 
 well as simplified common objects ; we have, how- 
 ever, indicated what are sufficient for a school to 
 commence with, and the Committees of schools of any 
 size, or who wish to further add to their examples, 
 will no doubt consult their master, or respond to 
 his wishes in this respect. 
 
 Advanced Model Drawing , — In the eyes of the 
 Department advanced model drawing differs from 
 the elementary in being shaded, drawn on a larger 
 scale, and in the addition of one difficult model, a 
 skeleton cube with a vase, a small cube, and a 
 sphere, to the list of models on the elementary 
 syllabus. 
 
 These four models cost lAs. net. Or, since they 
 and the elementary form together the advanced set, 
 that set costs £4 net, and should be provided inde- 
 pendently of the elementary set, and will probably 
 be used in another room. 
 
 The subject is commonly, and used formerly 
 officially to be known as “ shading from models,” 
 a term which is much more appropriate. The 
 models must be kept clean, and painted occasionally 
 with “ flatting ” (white lead and turpentine, with a 
 little japan gold-size). The red and the glazed 
 vases must not be painted, as probably the repre- 
 sentation of the tone or glaze is an item of the 
 syllabus. 
 
ART CLASSES AND SCHOOLS OF ART, 
 
 71 
 
 By advanced model drawing the writer would 
 prefer to understand that kind of model drawing 
 which deals with forms removed somewhat, or 
 considerably, from the simple geometrical shapes. 
 Common objects are often gross and palpable 
 makeshifts, being either the much-used objects about 
 the building, or the clumsy renderings of them 
 which are included in some sets of school models. 
 These are all very well, but one feels that a student 
 who can be passed on at all from the geometrical 
 models given above can be trusted with objects 
 which do not remind one so much of playthings. 
 We shall make a rule here, similar to that in free- 
 hand, that when we depart from the candid honest 
 geometrical model, we admit no models which are 
 renderings of objects, but rather choose such com- 
 mon objects as can be conveniently put away, and 
 are sufficiently simple in form to follow on to the 
 elementary studies. We may name, then, — 
 
 Glass-ware, — Tumblers, wine-glasses, Rhenish 
 drinking-glasses, amphora-shaped wine or spirit 
 bottles. 
 
 Metal . — Copper kettle, distillers’ measures (copper), 
 pewter-pots and inkstands. 
 
 Books, with stout bindings. 
 
 Shells, of large simple form. 
 
 Model drawing is generally illustrated and ex- 
 plained upon the blackboard. Diagrams to hang 
 on the walls or to be put in frames are also useful. 
 The set issued by Mr. Barfield illustrate the effect 
 
72 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 of perspective upon the model, and those pub- 
 lished by Messrs. Bacon deal rather with practical 
 imitation. 
 
 Decorated Models . — Much may be gained by the 
 employment of geometrical models on which simple 
 designs are traced. With the same pattern on 
 each of, say, three sides, the effect of foreshortening 
 may be more readily grasped. Messrs. Chapman 
 & Hall have been the first, I believe, to issue 
 decorated models, the design being produced in 
 fretwork within the face of the model. 
 
 Geometry . — Considered as a Science Subject, the 
 Department give a list of indispensable models, etc. 
 The geometrical models used for model drawing 
 cover nearly all the list, though wire models would 
 perhaps be preferable. To complete the list we 
 require : cone, with three sections, 5^. ; model 
 showing projections, traces, and intersections of 
 lines, 30^. ; and blackboard, T-square, etc. 
 
 The blackboard is already mentioned on p. 63. 
 Ordinary T-squares are cheap enough, but one which 
 maintains its position will be preferable, as the 
 master’s hands are free for manipulating the set- 
 squares, etc. A T-square to lock upon the edge of 
 the board is in Messrs. Chapman & Hall’s list, as 
 also a horizontal rule devised by the writer. This 
 rule maintains its position and is readily adjusted, 
 while the set-square may stand upon it. Cost, 3 ft., 
 0^. net, to 6 ft., lo6*. net. 
 
 Blackboard ruler, set-square, protractor, and 
 
ABT CLASSES AND SCHOOLS OF ART. 73 
 
 compasses will be necessary. These will not cost 
 more than £1. 
 
 Perspective . — The blackboard, with its rulers, set- 
 square, protractor, and compasses are all that are 
 absolutely necessary, but such a glass-plane as 
 Ablett’s is sometimes useful, though an ordinary 
 glazed frame can be made to serve. 
 
CHAPTER YI. 
 
 CASTS. 
 
 The selection of casts is, perhaps, the most trying 
 of the duties devolving upon those who have to 
 provide for an art school. Those who inquire into 
 the matter will soon find that casts, irrespective of 
 the workmanship, are of several kinds. There are 
 casts from old or modern sculpture, whether figures 
 or ornament ; there are casts of old ornaments 
 repaired and revived to what may be supposed to 
 have been their original form ; there are casts of 
 natural forms, as of fruit, fish, etc. ; and casts which, 
 although “ ornamental ” in one sense, are anything 
 hut really ornamental, and are simply creations for 
 teaching purposes. These last produce probably a 
 pernicious effect upon the minds and artistic sense 
 of our students, which it is almost impossible to 
 counter-act. The principle I laid down as regards 
 freehand copies will apply here — ‘‘ never to provide 
 permanently any form which it is not advantageous 
 to remember.” I do not expect this principle to be 
 readily adopted, nor do I expect it to be acted upon 
 by schools whose standard of art is measured by 
 
ART CLASSES AND SCHOOLS OF ART. 75 
 
 the pounds, shillings, and pence of the Science and 
 Art Department. But if the principle be sound, 
 then the fourth class of casts enumerated above, 
 those merely made for teaching purposes, go at 
 once ; casts of fruit, too, fall under a similar ban. 
 
 These casts have no doubt gained their ground 
 by their simplicity, that is, they are not so com- 
 23licated as to be not readily attacked by the 
 student ; and this is important. But the attempt 
 should always be made to find pieces of ornament 
 which, without any smoothening, will be simple 
 enough for the purposes for which they are 
 required. 
 
 Unfortunately, such casts as one would prefer are 
 only to be obtained with great difficulty and expense, 
 and so one has to fall back upon the regular school 
 casts. The writer does not guarantee that the casts 
 spoken of are good in workmanship, or that those 
 the numbers of which are given form the best 
 possible selection ; he merely gives them as being 
 in his opinion an adequate selection, and for the 
 guidance of those who do not know the casts. 
 
 Casts for Elementary Shading. 
 
 Lechertier, Barbe & Co. Nos. L7, L8, L12, L14, 
 L18, L19, L24, E8, Ell, E12, E16, E18, E20, E22. 
 14 casts, cost £1. 
 
 * See advertisement, page 7. 
 
76 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 D. Brucciani & Co. : Nos. 2483/4, 2483/1, 
 2315/4, 2315/5, 2315/6, 2315/10, 2403/7, 2483/9 ; 
 8 casts, cost £1. Also 2584/6, 2584/9, 2^. 6d. 
 each; 2482/7, 1482/13, 2482/14, 3^. each; 2484/1, 
 2484/2, 2484/4, 3^. 6d. each ; 8 casts, cost £1 45. 6d. 
 Also 494B, l5. 6d. ; 2594, 65. ; 2556, 45. ; 3 casts, 
 cost 11 5. 6(7. 
 
 Total, 34 casts, cost £3 I65. 
 
 £1 Selection , — Lechertier : E8, E16, E22, L7, 
 Lll, L12, L13, L14. Brucciani: 2315/6, 2483/4, 
 2484/2. 
 
 11 casts, cost £1. 
 
 Taylor and McKeclinie s CastsP" — This is a set of 
 14 casts very suitable for shading and modelling. 
 They are of a fairly large size. These casts are 
 bolder in relief than those generally given in the 
 Elementary Shading Examination, and some are 
 distinctly advanced in character. They might 
 very well be shared by the elementary and 
 advanced classes. In style they are interesting 
 and varied. 
 
 Cost, including package and packing, £2 55. 
 
 Casts for Advanced Shading. 
 
 Brucciani : 2312, Os. ; 2313, 55. ; 2314A, 75. ; 
 2536, IO5. ; 2537, 75. U. ; 345, 45. ; 484B, 55. ; 
 1640, 75 . 6d; 2608, 75 . U, ] 2670, 45 .; 2583, 
 
 See advertisement, page 6. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 77 
 
 155.; 493, 45.; 1634, 45.; 1635, 45.; 2555, 45.; 
 496, 35. ; 344, 45. ; 2112, 75. M . ; 484A, 55. 
 
 19 casts, £5 135. Od. 
 
 The last three are illustrated in the Directory,’" 
 
 pp. 266, 267. 
 
 The following are classic rosettes : 345, 493, and 
 
 344 (45. each), of which 493 is a sunflower,” and 
 the most complicated, and 344 curled leaves, and 
 
 345 plain leaves. 
 
 2670 is a bold egg and tongue (45.). 
 
 496 is a diamond rosette (35.). 
 
 484 A and 484B are the well-known pomegranate 
 and egg-plant respectively {ps, each). 
 
 2555 is a bold Roman honeysuckle, to which 
 2556 in the elementary selection belongs (45.). 
 
 2313 (55.), 1640 (75. 6^.), and 2608 (75. M.) 
 are Gothic capitals, the two latter from Stone 
 Church and Sante Chapelle, and very good. 
 
 2312 (55.), 2314A (75.), 2536 (IO5.), 2537 
 (75. 6cZ.), 2583 (155.), are Gothic 13th century 
 ornament. 
 
 The largest of these casts is 2583. It is 3 feet 
 3 inches X 1 foot 6 inches. 
 
 The general size is about 14 inches. 
 
 Or, if we cut the list down, it will stand 
 thus : — 
 
 Rosettes 493 (45.) and 344 (45.), Egg and 
 Tongue 2670 (45.), 484A (55.) and 484B (55.), 
 2555 (45.), 1640 (75. M.), 2537 (75. Qd.), 
 
 8 casts, £2 I5. 
 
78 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Or^ again : — 
 
 344 (45.), 484B ( 05 .), 2555 (45.), 1640 (?5. 6J.), 
 2537 (75. 6fZ.). 
 
 5 casts^ £1 85. 
 
 Taylor and McKechnies. See note to Elementary list. 
 
 Outline from Cast, or Advanced Freehand. 
 
 The first studies in this subject should be done 
 from the casts used in Elementary Shading Cast^ 
 and any of the casts used for shading will be 
 suitable as examples. The casts given in the 
 examination are generally low in relief and of 
 cinquecento style, but there is no reason that the 
 examinations should be limited in this way. The 
 Louis XII. pilasters and the Madeleine scroll have 
 been for a long time the representatives of the 
 subject, and are mentioned in the syllabus. We 
 feel therefore obliged to put them first on the list, 
 although the Louis XII. pilasters are not always 
 very distinct^ and the Madeleine, though clear, is 
 rather more correct and formal than beautiful. We 
 shall quote the numbers and prices from Brucciani’s 
 list : — 
 
 Louis XII. pilasters No. 476 A, 55. 
 
 „ „ „ 476B, 55. 
 
 These have the capitals and bases, and thus show 
 the whole effect of the pilasters. Other pilasters of 
 the series are Nos. 4760'to J. 
 
 Madeleine No. 478 Al, Nest and Scroll, 85. 
 
AET CLASSES AND SCHOOLS OF ART. 
 
 79 
 
 Also other scrolls separately, Nos. 478B, C, 
 and D. . 
 
 Casts for Outline from Casts. 
 
 Brucciani : Nos. 2306, IQs. 6d. (2480A, B, C, 
 and D, 2^. each) ; 346, 3^. ; 2639, 4<§. ; 2597, 10.9. 6c?. ; 
 494, 45. ; 2301, 75. ; 2302A, 75. ; 2222, 35 . Qd . ; 
 476A, 05. ; 476B, 5s. ; 476C, 5s. ; 478A1, 85. 
 
 12 casts, cost £3 125. Qd. 
 
 The last number is the Madeleine pilaster, that 
 is, the nest and one scroll of it. 476 A, B, and C are 
 three of the Louis XII. pilasters. 2597 is a beauti- 
 ful vine pilaster, 2222 a bold acanthus sprig by 
 Sansovino, 346 is a rosette, as also is 494, both 
 fairly complicated and in bold relief. Nos. 2306, 
 2639, 2301, 2302 are cinquecento acanthus scrolls. 
 There is no Gothic on this list. 2480 are capitals 
 of Louis XII. pilasters, and are not included in the 
 12 casts of the total. 
 
 Or we may reduce the list to — 
 
 Madeleine 478 Al, 85. ; 476 A, 5s. ; 2597, IO5. Qd. ; 
 2301, 75 . ; 2222, 35 . Qd. ; 2639, 45 . 
 
 6 casts, £1 I85. 
 
 Casts for Elementary Modelling. 
 
 Taylor and McKechnie’s. 14 casts, cost (with 
 packing), £2 5s. Several of the casts in this set 
 are very suitable for elementary modelling. 
 
80 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Brucciani’s : Nos. 2536, IO5 ; 1631,155.; 493,45.; 
 2221, 15. U , ; 2222, 35. U . ; 2556, 45. ; 2716, 75. U . ; 
 496, 35. ; 2537, 75. U , ; 344, 45. ; 345, 45. ; 2677, 
 35. 2594, 65.; 2224, 75. M, 
 
 Of this. Nos. 2536 (IO5.) and 2537 (75. 6c^.) are 
 Gothic. 
 
 Nos. 1631 and 2224 are bold Eoman acanthus. 
 Nos. 2221 and 2222 are fragments of acanthus 
 by Sansovino. 
 
 No. 496 is a vigorous diamond rosette; No. 
 345 a rosette of six plain leaves, 344 of six curled 
 leaves, 493 a “sunflower” rosette. 
 
 No. 2556 a bold simple Roman ornament. 
 
 No. 2594 a study-piece of acanthus type— bold. 
 14 casts, cost £4 I5. 
 
 Or, reducing by cutting out the larger casts : 
 Nos. 344, 45., curled ; 496, 35. ; 2222, 35. Qd. ; 
 2594, 65. 
 
 4 casts, I65. 6 c/. 
 
 It may be well to describe the casts in the 
 Government Syllabus of the Elementary Modelling 
 Examination. Some of them are in the list just 
 given. 
 
 £ s. d. 
 
 No. 344, rosette illustrated on page 266 
 
 of the “ Directory,” ... ... ... 0 4 0 
 
 No. 345, rosette, six plain leaves ... 0 4 0 
 
 No. 346, rosette, bent leaves considerably 
 serrated, and with a little ornament 
 between each... ... ... ... 0 3 0 
 
 Carried forward 
 
 QUO 
 
ABT CLASSES AND SCHOOLS OF ART. 
 
 81 
 
 11 
 
 Brought forward 
 No. 2315. Ten casts, of which Figs. 
 
 2, 3 and 5 on pages 264 and 265 
 of the ‘‘ Directory ” are three : the 
 set of 10 ... ... ... ... 1 0 0 
 
 494rt, small rosette of two rows of eight 
 
 plain petals ... ... ... ... 0 1 6 
 
 1542^, Louis XII. pilaster ‘‘ flame ” (with- 
 out capital) ... ... ... ... 0 5 0 
 
 1543^, Louis XII. pilaster, “vase at top” 
 
 (without capital) ... ... ... 0 5 0 
 
 476(2, as 1543^ but with capital (flower) 0 5 0 
 
 4765 as 1542^ but with capital (head) ... 0 5 0 
 
 478 Madeleine pilaster (full length) ... 1 0 0 
 
 1641, Gothic tracery — no foliage ... 0 3 0 
 
 20 casts, cost, £3 15 6 
 
 The first three lines, the rosettes, are good, though 
 the third is rather complicated ; the fourth line con- 
 sists of the painfully sleek elementary casts already 
 represented in the Elementary Shading list. The 
 fifth line, or small rosette, is less objectionable, and 
 a tolerably good study. The Louis XII. pilasters 
 are models rather too subtle to place before “ ele- 
 mentary ” students ; moreover, they are repeated 
 in the two following lines, which, having capitals, 
 at the same price, are preferable. The capitals are, 
 indeed, rather suitable e.x:ercises. They may be had 
 separately. Nos. 2480A and 2480B, 25. each, and 
 their size makes them more convenient for use. The 
 
82 GUIDE TO ESTABLISHMENT AND EQUIFMENT OF 
 
 Madeleine, especially its lowest member, is a good 
 study, though painfully exact and spiritless. No. 
 478 is the whole pilaster : 478 A (IO5.) gives a nest 
 and a scroll to the tip of a leaf; 478Ai, (85.) gives 
 the nest and scroll, but not all the leaf. 
 
 Casts of the Figure. 
 
 Full-sized Antiques . — The Department only allow 
 examinations in Antique Drawing at which there 
 are at least four life-sized statues, whether antique 
 or from such modern sculptures as are approved by 
 the Department. The following are the figures 
 generally found in our schools : — 
 
 Venus of Milo, £6 65. 
 
 Dancing Fawn, £4. 
 
 Germanicus, £6 66-. 
 
 Discobolus, £5. 
 
 Antinous, £5 55. 
 
 Gladiator, £5. 
 
 Hermes (Farnese), £10 IO5. 
 
 Hermes and Dionusos, £10 IO5. 
 
 Jason, £7 75. 
 
 Cupid, £4. 
 
 Anatomical by Houdon, £0 65. 
 
 Athlete Vaison, £10. 
 
 Theseus, £4 IO5. 
 
 llissus, £5. 
 
 Faun Rondinini, £5 55. 
 
 Of these the first six are most frequently seen in 
 
ART CLASSES AND SCHOOLS OF ART. 83 
 
 the Government syllabuses, probably because they 
 are the oldest as casts, and most likely to be found 
 in the generality of schools. 
 
 The prices here given are from Messrs. Brucciani's 
 
 list. 
 
 It is a great question whether so much antique 
 will be “ done ” in the future as in the past, though 
 there is no doubt that the real study of it is 
 keener than ever it was. In the writer’s opinion 
 it will be best to procure statuettes where possible. 
 “Eeductions” are not good in some ways, though 
 it is remarkable how nobody grumbles at the small 
 ‘‘ Slave ” who would be horrified beyond expression 
 at the sight of a reduced Discobolus. The full-size 
 statues are good, but very cumbersome, and more- 
 over they swallow up capital as well as space, and 
 preside in a depressing manner over the whole 
 school. 
 
 When four or six full-sized statues have been 
 procured, attention should be paid to smaller casts, 
 and where these are not felt to 'be reliable, photo- 
 graphs should be procured. These are cheap 
 enough (Mansell quotes for some 21 x 15 inches, 
 \s. for 10 X 8 inches)."* 
 
 See advertisement, page 11. 
 
84 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Selection of Statuettes and Figures in Relief. 
 
 ^ No. 459, Hercules (bronze), British Museum, 
 
 105. 
 
 ^2269, Slave by Michelangelo, £1 I5. 
 
 460, Apollo (B.M.), 125. 
 
 ^ 2267, Faun (Naples), 125. 
 
 ^ 2873, Anatomical, arm up, 75. M. 
 
 2874, Anatomical, resting, 125. ^d. 
 
 2273, St. Cecilia (Donatello), 65. 
 
 2275, Madonna and Child, 35. ^d. 
 
 2362, (Ghiberti) Figures in niche, 55. each (say 2). 
 2358, (Ghiberti) Creation, IO5. 
 
 ^ 2356, (M. Angelo) Madonna and Child, £1 IO5. 
 ^ 2355, Victory tying Sandal, Athens, 125. 
 
 498, Girl and Wreath, 145. 
 
 ^T. 17 B.M., Venus torso — stooping to tie, 55. 
 
 39 B.M., Wounded Lioness (Assy.), 75. ^d. 
 
 107 B.M., Two Horses, two Lions, one Rider 
 (Assy.), 155. 
 
 2391, Draped Aphrodite (Cyrene), 55. 
 
 2574, Narcissus, £1. 
 
 Mausoleum Frieze (Gold No. 10) £2 55. 
 
 ^ 29^, Charioteer from Mausoleum Frieze, 125. 
 Busts. — ■^ 2401, Julius Caasar, 65.; 2257, Bar- 
 barian, 85.; 2339, Apollo (Pourtales), £1 ; Aberdeen 
 Head, IO5.; Apollo Muscegetes (similar to Pourtales), 
 £1 ; 2634, Brutus, IO5. ; ^2326, Juliano de Medici 
 
 * If means do not allow of all being purchased, select these. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 85 
 
 (Michelangelo), IO 5 . ; ^ 134, Uzzano (Donatello), 
 7^. 6d ; ^ 36 Beniveni (Donatello), 7^. Qd. 
 
 Masks . — ^ 2848, Dead Head, 4^. ; ^ Dante (new), 
 45.; ^ 2541 (Della Robbia), 35. 6<i. ; 2542 (Della 
 Robbia), 45. ; ^461, Moses (Michelangelo), 55. ; 
 2849, Female Saint, 55. 
 
 Limbs . — 1626 and 1627, Anatomical Arm and 
 Leg, 35. Qd. each; 2924, Female Leg, 55.; Male 
 Arm, closed fist, 55. 
 
 N.B. The above numbers are Brucciani’s. 
 
 * If means do not allow of all being purchased, select these. 
 
CHAPTER YII. 
 
 EXPENDITURE CONNECTED WITH THE TEACHING 
 OF ADVANCED SUBJECTS.^ 
 
 Under this heading' we shall briefly review the 
 requirement for teaching Designing, Painting, etc. 
 We shall consider that we are thinking only of 
 the equipment of a small and not too well financed 
 school, for there is virtually no limit to the pro- 
 vision which may be made of appliances, casts, 
 examples, and books, useful, and to a great measure 
 indispensable, in the thorough teaching of the more 
 advanced subjects. 
 
 It is unfortunate, in some ways, that so many 
 art subjects can be taught, in a fashion, without 
 any appliances. Committees are prone to think , 
 that beyond certain casts and models nothing is 
 really needed, so that in very many, perhaps the 
 great majority of our schools, there are few or no 
 examples worthy of the name. It cannot be said 
 too plainly or too often, that examples are of the 
 utmost importance in the teaching of all art which 
 is more than servile^ imitation. Wherever taste, 
 
 * For particulars of books, photographs, etc., under this 
 section, see advertisement, pages 7 to 12. 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 87 
 
 adaptability, fitness, and style are at all objects of 
 study, examples of fine work must be provided. A 
 teacher may lecture eloquently, or by his numerous 
 drawings put something good before the students, 
 but if all the permanent things about the school are 
 the usual casts for shading and freehand copies his 
 words and example can have but little effect. The 
 Department used to make grants toward the acqui- 
 sition of examples, if not to supply them entirely. 
 These grants have been discontinued, though one 
 or two publications, excellent in their way, have 
 been presented to some of the schools. Excepting 
 these gifts, and those made by the trustees of the 
 British Museum, absolutely no examples have been 
 added to many of our schools since the Department 
 ceased giving its grant. 
 
 Design . — The subject of design is one in which 
 examples play a very important part. Where possible, 
 original works should be acquired, but where repro- 
 ductions only can be obtained, they must take the 
 form of photographs, casts, and electrotypes. Messrs. 
 Elkington and Co. issue a price list of their electro- 
 tyj)es. Unfortunately the prices are necessarily 
 high, but the value of the reproductions cannot be 
 over-estimated, while, being metal, they are far less 
 likely to be damaged than objects in any other 
 material. Casts of carved wories are among the 
 cheapest and most satisfactory reproduction of old 
 work. For these Messrs. Chapman and Hall are 
 agents. 
 
88 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 If we say that casts are invaluable as examples 
 of decoration, we make an almost unnecessary state- 
 ment. The number of casts issued by one firm and 
 another is so great, that one is quite bewildered in 
 trying to determine which out of the host should be 
 provided for the teaching of design. One is com- 
 pelled to admit that the number of casts which are 
 suitable for this purpose is small and even meagre. 
 The majority of casts procurable are Roman and 
 cinquecento acanthus foliage. This conventional 
 ornament is all very well in its way, but so many 
 examples of it have been reproduced, that other, and 
 in many ways, finer styles, have been crowded out. 
 
 For the teaching of design we could almost do 
 without casts, since photographs give us very 
 nearly all we want to know. But, supposing that 
 we are going to provide casts, then we shall perhaps 
 see that they must illustrate, first, what is ornament, 
 or what ornament is ; and, second, how ornament 
 grows, or the suitability of ornament to material 
 and position. 
 
 The old notion was, that acanthus foliage was the 
 ornamental foliage, and therefore examples of it at 
 the periods of its most perfect technical develop- 
 ment (Roman and cinquecento) were, as has been 
 said, multiplied without restraint. This exclusive 
 adoration of one particular style has, or is, passing 
 away ; and the question has still to be answered to 
 every student — What constitutes ornament? We 
 are not here concerned with the solution of this 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 89 
 
 problem, and it need, therefore, only be pointed out 
 what examples we should need to collect together 
 to illustrate what ornament is : — 
 
 Etruscan, or Greek terra-cotta reliefs, showing 
 honeysuckle, anthemion, and also spiral scrolls and 
 naturalistic work probably intertwined with it. 
 
 Roman acanthus, and naturalistic work as ivy, 
 laurel, or vine. 
 
 Romanesque and Byzantine. Panel from Bonn. 
 Lintel from Moissac. Columns from Dijon. 
 
 Early English foliage from Stone Church, from 
 Notre Dame, Paris, etc. 
 
 Decorated foliage, maple, vine, etc. ; these, in 
 many instances, from wood carvings. 
 
 Late decorated and perpendicular work might 
 be illustrated by photographs. 
 
 Italian. Renaissance. Both the acanthus and 
 naturalistic foliages. 
 
 As regards the representation of the adaptation 
 of ornament to specific materials and positions, or, 
 in other words, how ornament takes its form from 
 the character of the material and workmanship, casts 
 of wood-carving, repousse work, and embossed 
 leather will be specially suitable. 
 
 Photographs, as has been said, are of great value 
 in the teaching of design. One of the most im- 
 portant sets is that of photographs of casts in the 
 Museum of Sculpture in the Palace of the Trocadero, 
 Paris. The subjects of these are chiefly archi- 
 tectural ; that is, they are ornaments or figures 
 
90 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 applied to architecture. Three folios of these have 
 been issued and priced, £2 30^., and 305. The 
 
 photographs of objects in the Architectural Museum, 
 Westminster, published by Bedford Lemere and Co., 
 are equally valuable. One needs photographs of all 
 kinds of work, of tapestry, woodwork, metal-work, 
 plaster-work, etc. Amongst publications directly 
 bearing upon this matter, are Studies from the 
 Museums,” published by Messrs. Sutton and Co. Of 
 this series, the set edited by Miss Rowe on wood- 
 carving and woodwork is precisely the kind of thing 
 required. 
 
 Mr. Griggs’s photo-lithographs of examples of 
 Italian art, Persian art, etc., are invaluable and 
 excellent substitutes for the originals; cost, say £3. 
 Many other publications of a similar character are 
 in the market, some of the most valuable being 
 found on Mr. Batsford’s list. Of periodicals, Arte 
 Italiana — published by Ongania, Venice, — and 
 Hirth’s U Art Pratique are very good, and it would 
 be well if a volume of one of these, or of a similar 
 publication, could be added to a school year by year. 
 
 So numerous, indeed, are the books and illustra- 
 tions which are of use, that one hesitates even to 
 form a small selection. The more examples the 
 better will be the opinion of every design-master, 
 and in many ways it will be found better to spend 
 money upon these than upon cumbersome casts. 
 What casts are provided should be not only choice, 
 but of the finest execution ; that is, the moulding 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 91 
 
 should be of the first class. Oasts of small bronzes 
 of figures in relief and delicate ornaments will be 
 invaluable. They need neither be large nor bulky, 
 but whatever they are must be exact reproductions 
 of the detail of the originals. 
 
 Design Boohs. — Among books we must mention 
 the following, which stand apart somewhat from 
 the books of examples : — 
 
 Jackson’s “ Decorative Design,” Is. ^d. 
 
 Jackson’s “ Theory and Practice of Design,” 9s. 
 
 Lewis, F. Day, ‘^Nature in Ornament,” 12^. 6d. ; 
 net IO 5 . 
 
 Lewis, F. Day, “Anatomy of Pattern,” etc., 
 
 IO5. M. 
 
 Walter Crane’s “Panpipes” (7^. 6(i.),and others 
 of his picture-books. 
 
 Howard Pyle’s “ Pepper and Salt,” etc. 
 
 Handbooks to South Kensington Museum, 
 £2 (js. 
 
 Yiollet-le-Duc’s “ Dictionnaire Eaisonne de 
 Mobilier.” 
 
 “ Le Moyen Age,” by Lacroix and Sere. 
 
 Meyer’s “Handbook of Ornament,” IO 5 . 6d. net. 
 
 I would strongly advise the inclusion of the 
 Yiollet, even if funds are low. 
 
 Examples of plant-form should also be provided. 
 There are w^orks by Charles G. Haite and F. E. 
 Hulme. Messrs. Chapman and Hall have in the 
 press a book, by Messrs. Lilley and Midgley, on 
 Plant-Form and Design. 
 
92 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 It is absolutely essential, however, that grow- 
 ing plants should be provided. Arrangements 
 can easily be made, as a rule, with a nursery-man 
 for the supply either of plants or cuttings. It 
 is well, however, if several growing plants can be 
 purchased and kept, even in window-box fashion. 
 
 Monochrome Painting . — Copies will have to be 
 provided for this purpose. The photographs known 
 as — 
 
 “ 12 Photogra^Dhs of Selected Details.” 
 
 ‘‘12 Photographs of Select Details, Venice, No. 
 II.” 
 
 “12 Selected Photographs of Panels.” 
 
 “12 Selected Photographs of Pilasters.” 
 
 These cost los. per set. I have placed them in 
 order of preference ; or, rather, I think the first set 
 the best. 
 
 Architecture . — For the study of this subject we 
 could write a long list of requirements. But the 
 following will perhaps be sufficient for a com- 
 mencement : — 
 
 Spiers, “ Orders of Architecture,” Ss. 6d. net. 
 
 Spiers, “ Architectural Drawing,” 85 . 6d. net. 
 
 Bloxam, “ Principles of Gothic Ecclesiastical 
 Architecture.” 
 
 Paley, “ Manual o'f Gothic Mouldings.” 
 
 Smith, T. Roger, and Slater, “ Architecture : 
 Classic and Early Christian,” 5s. 
 
 Smith, T. Roger, “ Architecture : Gothic and 
 Renaissance,” 5s. 
 
ABT CLASSES AND SCHOOLS OF ABT. 
 
 93 
 
 H. H. Statham, “ Architecture,” 12<§. 
 
 Gwilt, “Encyclopaedia of Architecture” — 
 £2 125. 6d, 
 
 Mitchell’s “ Building Construction,” 25. 6d. 
 
 To which, for the sake of those who have to do 
 their “architecture sheet” for Group 1, we may 
 add Peter Nicholson. 
 
 We can easily extend our list with the follow- 
 ing 
 
 Viollet-le-Duc’s “ Lectures on Architecture ” 
 (in English). 
 
 Stevenson’s “House Architecture,” and the works 
 of Rich man, Fergusson, Brandon, Sharp, and Parker. 
 
 Perspective Geometry and Sciography . — Mai ton 
 is a fine old book on perspective, but probably the 
 newer books will be sought for. 
 
 Dennis, “ Second Grade Perspective,” 25. 6<i. 
 
 Dennis, “ Third Grade Perspective,” two parts, 
 75. Qd, each. 
 
 Pratt’s “ Sciography,” 75. 6<7. 
 
 The geometry taught in schools of art is so 
 varying a quantity that it is difficult to name a 
 work which will exactly suit. 
 
 Principles of Ornament . — The character of the 
 questions set at the examination render it necessary 
 that Ward’s “Principles of Ornament” (75. 6(i.), 
 Wornum’s “ Analysis ” (85.), and Moody’s “ Lectures 
 and Lessons ” (45. 6c/.) should be provided. Owen 
 Jones’s “ Grammar of Ornament ” (£3) is also 
 mentioned in the syllabus. It is a pity that so 
 
94 
 
 ART CLASSES AND SCHOOLS OF ART. 
 
 expensive a book is not of more value nowadays in 
 the teaching of design. Still there are some plates 
 for which substitutes are not easily found. ^ 
 
 Still-Life Painting . — Some little outlay will be 
 necessary under this head. <£5 would provide a 
 fair stock of simple things, but the Committee 
 should endeavour to get old chairs (of good period, 
 not the false old-oak clumsy productions which are 
 so frequently seen), old oak panels, brass and copper 
 bowls, oriental pottery, etc. 
 
 Anatomy . — It is very necessary that there should 
 be in the school an articulated skeleton, as well as 
 parts of the same. A complete skeleton costs from 
 £10 to £20. A half set costs about £3 IO 5 . Limbs 
 I 65 . each, and a skull 21 ^. Of books there is 
 none better than Marshall (31^. 6(i.), though Holden's 
 Osteology ” is excellent for the bones. Sparkes’s 
 “ Anatomy ” reproduces most of the plates of 
 Holden. The anatomical statues are entered among 
 the casts of the figure. 
 
CHAPTER VIII. 
 
 ART CLASS EQUIPMENT.* 
 
 In this chapter we shall capitulate the requirements 
 for art classes. In Scheme I. we consider the 
 equipment necessary for a class taking the Ele- 
 mentary Drawing Certificate, or the subjects which 
 constitute it ; and in Scheme II. that of a class 
 taking the more advanced work known as the 
 ‘‘ Intermediate.” 
 
 Scheme I. 
 
 Equipment for Class covering the Requirements of the 
 Elementary Draiving Certificate^ and held in 
 Rooms not specially fitted for Art Classes, 
 
 We shall suppose that the rooms are in use as 
 schoolrooms, that new furniture cannot be accommo- 
 dated, and that whatever is provided for the art 
 class must be locked up in cupboards at the close 
 of the class-meeting. 
 
 The requirements of the Elementary Drawing 
 Certificate are — 
 
 * For particulars of articles under this section, see advertise- 
 ment, pages 2 to 6. 
 
96 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Elementary Freehand Drawing. 
 
 Elementary Model Drawing. 
 
 Elementary Shading from Casts. 
 
 Geometrical Drawing. 
 
 Perspective is not now a subject on the ele- 
 mentary syllabus. 
 
 The Room and its Furniture , — If the class is to 
 he held in the day-time, the lighting should be such 
 as described on p. 38, and rooms should be selected 
 which provide that arrangement. If the class is to 
 be held at night, the gas-lights already provided will 
 probably be suitable for the Freehand, Model, and 
 Geometry classes. The special requirements neces- 
 sary for the study of Light and Shade are given in 
 the proper place. Except for shading, large single 
 burners are not always the most convenient, as in 
 some positions shadows are cast from the student’s 
 hand or head upon his paper, which are most un- 
 desirable. The light should fall from the left in all 
 cases. 
 
 The Desks and Seats should be such and so 
 arranged that the master can visit the students 
 individually while they are working. Separate 
 desks are best, but are not likely to be found in 
 schoolrooms. Dual desks are almost as good, but 
 long tables, though suitable for Freehand and 
 Geometry, are not so suitable for Model and Shading. 
 
 In the following pages the requirements for 
 teaching each of the subjects are given ; and in the 
 first place those only which are absolutely essential 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 97 
 
 are named, so that an idea may be formed of the 
 cost of the cheapest efficient equipment. In Scheme 
 II. follows a list of such additions as, while render- 
 ing the classes more efficient, cannot be denominated 
 indispensable. 
 
 Freehand Classes. 
 
 The following will be necessary : — 
 
 Blackboards. 
 
 Copies or examples. 
 
 Students’ materials, etc. 
 
 Cupboard. 
 
 Blackboards . — If the class is held in a school- 
 room there will probably be blackboards available. 
 If not, they will have to be provided, and possibly 
 locked away in the cupboard. In this case the width 
 should not be greater than 30 inches. Two boards 
 will be required, one for simpler, the other for more 
 difficult copies. The students may thus be separated 
 according to their ability. 
 
 2 Blackboards^ 42 x 30 inches, at 05. = 18^. 
 
 The thick unframed boards are, perhaps, most 
 convenient. 
 
 2 Easels, broad head, 6 feet, at 9s. — ISs. 
 
 There are some to be had without cross-bars, 
 and which fold very completely, but are less steady. 
 Price t)5. each, or less. The steadiest folding-easel is 
 the ‘‘ Hatherley ” (Winsor and Newton), price Ss. 6d. 
 
 Copies and Examples . — These must be of two 
 kinds — 
 
 II 
 
98 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Small, for individual use ; ^ 
 
 Large, for class use. 
 
 Small Copies : j E.R. Taylor’s Freehand Examples, 
 on 60 cards, 7x5 inches (Chapman and Hall), 55. 
 
 t F. Gr. Jackson’s Freehand Cards, Meiklejohn’s 
 series. Standards III., lY., and Y., at 25. each ; 
 YI. and YII., at 25. (jd. each (A. M. Holden). 150 
 cards in all, in cases, II 5 . 
 
 t J. P. Frazer, Kenaissance Ornament, 2 books, 
 3d. each. 
 
 Poynter’s S. K. Freehand Drawing Series. 
 
 Large Copies : E. R. Taylor’s Enlarged Diagrams, 
 60 cards, 21 x 15 inches, elementary set of 30, 05.; 
 advanced set of 30, 05. = I 85 . 
 
 Cost of above copies, £1 145. 9r7. 
 
 The cost may be reduced by making the follow- 
 ing selection : — 
 
 E. R. Taylor, 60 cards, small, 55. 
 
 F. Gr. Jackson, Standards Yl. and YII., 55. 
 
 J. P. Frazer, Renaissance Ornament, on cards, 
 say two copies of the one set, I 5 . 
 
 E. R. Taylor, Enlarged Diagrams, advanced, 05. 
 
 Total cost, £1. 
 
 If the class numbers more than twenty, it will be 
 well to duplicate those also marked f. 
 
 Test Copies . — It is convenient to hold two or 
 three Test Examinations in the class, say on the 
 following dates : December 20th, March 10th, and 
 
ART CLASSES AND SCHOOLS OF ART. 
 
 99 
 
 April 20tli ; and it is an advantage to have the same 
 copy for all the students. To meet this demand 
 Messrs. Chapman and Hall have decided to issue 
 Test copies periodically. 
 
 Price, 25 copies (same diagram, on paper). Is, 
 
 It will be generally agreed, however, that even 
 an elementary freehand class is likely to he more 
 successful if the work is carried beyond the hare 
 requirements of the Grovernment Examination. 
 Tinting in water-colour, drawing with the brush 
 alone, and simple stencilling are valuable additions 
 to the curriculum, and can accompany the simplest 
 freehand. The fact that advanced work is being 
 done encourages the beginners. Most of the work 
 will be practice-work, or time-studies, and will 
 necessarily look unfinished. Some of the studies 
 should, therefore, be carried further, outlined with 
 the brush, and tinted in water-colour. Examples 
 suitable for this work will be found among the 
 copies by Jackson and Jacobstahl. 
 
 Boards^ etc. — Drawing-boards are certainly com- 
 fortable additions. Unless a desk slopes very much 
 and has its front edge low, it is by no means a 
 pleasant surface to draw upon. Nevertheless it is 
 sometimes best to have drawing-books. These may 
 be had made of the same paper (cartridge) as is 
 generally used in our school, and folded so that 
 2 sheets make 12 leaves, 11 x 10 inches. With 
 thin tinted smooth paper backs these can be 
 retailed to the students at ‘Id, each, the price of 
 
100 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 two sheets of cartridge. Tissue-paper interleaves 
 are a nuisance. Drawing-books can readily be 
 stacked in the cupboard. 
 
 Drawing-Boards . — Half imperial paper is 22 x 
 15, and the boards should take this size. Smaller 
 boards are inconvenient. 
 
 Price, say, 30 at 2^. 6c?. each, £3 15^. 
 
 Model DuAAviNa Class. 
 
 Model drawing, such as is required at the 
 Government Second Grade Examinations is gene- 
 rally taught fronii one group of models at a time, and 
 hence the seats are arranged in a circle, or in an 
 arc of a circle. It is important that the student’s 
 desk should face, or be directed towards the models. 
 Desks which can be shifted about are therefore most 
 convenient, and although single desks are to be 
 preferred, double desks may serve instead. 
 
 If the desks cannot be brought to a curve several 
 groups must be set up. 
 
 We shall require — 
 
 1. Blackboard. 
 
 2. Models and stands for same. 
 
 3. Students’ materials. 
 
 4. Cupboard. 
 
 Blackboard . — The provision made for the Free- 
 hand class will be sufficient also for this. See p. 97. 
 
 Models and Stands' for same . — The models are 
 generally required to stand about 18 inches above 
 
ART CLASSES AND SCHOOLS OF ART 101 
 
 the floor. The height of 2 feet 6 inches is also 
 frequently used, as well as a position above the eye. 
 The furniture in the room can probably be utilised 
 for support ; but it may be well to provide a stool 
 18 inches high. 
 
 Cost : Box stools, 2 at 3^. = 75. ; legged 
 
 stools, 2 at 55. = 105. 
 
 Upon the stool or whatever support is found 
 suitable is placed a drawing-board, sometimes a half- 
 imperial, sometimes a full imperial (30 x 22 inches). 
 
 Cost of 2 imperial boards at 45. 9d. = 95. 6d. 
 
 As both stools and boards are apt to get used 
 for other purposes, it will be well to have them 
 joined together. The result is rather cumbersome 
 if they have to be packed away. The cost would 
 probably be reduced by having them made by a 
 joiner. 
 
 Models . — One set Elementary Models as required 
 by the Syllabus for Second Grade Model Drawing. 
 
 Cost, net, £2 I 65 . 
 
 Explanation Charts . — There can be no doubt 
 that drawings of models assist students to grasp 
 the principles of foreshortening, and several sheets 
 of such diagrams are frequently seen in our students’ 
 hands. The charts prepared by Mr. Barfield are 
 suitable for hanging in the class-room. They may 
 be had on linen with rollers, or unmounted. In the 
 latter form they require at least one imperial frame 
 to exhibit them in. The teacher will, of course, 
 always explain the drawing of the models, on the 
 
102 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 blackboard, but if be can leave an echo of bis 
 teaching before tbe class in chart form much will 
 be gained. Students who are dull of comprehen- 
 sion can study the matter further unaided, and the 
 teacher’s time will thus be economised. 
 
 Cost : 10 imperial sheets, unmounted, 8.9. ; 
 
 mounted, ISs. Cost of glazed imperial 
 frame, to exhibit charts if unmounted, 
 hinged back, 30i x 22| inches, 79. and 
 99. 6d. net. 
 
 Equipment for Class in Geometry. 
 
 Furniture . — The ordinary school desks or flat 
 tables will serve admirably for this subject. 
 Separate tables having tops of small area are not 
 advisable, as they do not provide sufficient accom- 
 modation for the numerous instruments required. 
 In fact, the larger the table the better. If the 
 tables are fiat blocks of wood, solid, 15 inches long 
 and 3 inches square in section, should be |)i’ovided 
 for resting the boards upon and form a sloping 
 surface. 
 
 Blackboard , — The blackboard provided for the 
 Freehand class will serve in this case also ; but, if 
 such is not available, the following arrangement 
 must be adopted : — 
 i. If put away after class — 
 
 Blackboard, not framed, 42 x 30 inches 9s. Od. 
 Hatherley Easel, 6-feet ... .... 89. 6d. 
 
 179. 6d. 
 
ART CLASSES AND SCHOOLS OF ART. 103 
 
 Or, ii. If to stand in the room — 
 
 Blackboard 42 x 30, on stand, 305. to 426*. 
 Or, iii. To put away, but hinged for solid geometry 
 demonstrations, 42 x 30, I85. 
 
 Or, iv. To stand, hinged for solid geometry, £3 155. 
 Or, V. To stand, Haggerty’s, 48 x 36, <£3 155. or 
 £4 IO5. 
 
 Drawing-Boards. — Half-imperial, as for Free- 
 hand, 25. 6c?. each. Clamped boards are more easily 
 damaged than battened. 
 
 Rule, etc., for Blackboard , — 
 
 5. d, 
 
 Hatton’s horizontal rule (3 ft.) .... net. 9 0 
 
 Marie’s set (rule, set squares, 45 and 60) 
 
 Buie 35., set squares and pro., 45. 6cZ. ... 7 6 
 
 Compasses .... .... .... .... 5 0 
 
 21 6 
 
 Drawing in Light and Shade, or Elementary 
 Shading Cast. 
 
 Lighting . — Assuming our class to be held in a 
 room generally used for some other purpose, the 
 lighting will have to be modified. The proprietors 
 of the room may allow a ring of lights or a large 
 sun-burner to be substituted for the present arrange- 
 ment ; but, if they will not allow so radical a change, 
 they will in all probability admit single burners of 
 thirty-candle power in place of the small burners. 
 
104 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 Circumstances differ so mucli that it is impossible 
 to lay down any plan which could be followed 
 in all cases. Small burners about 6 feet above 
 the ground and 18 inches from the wall are not 
 unsuitable. It is always difficult to light both the 
 casts and the students’ papers. The ideal arrange- 
 ment is, of course, that in which one light is supplied 
 to light the casts, and one to light the students’ 
 papers. This requires screens of some kind to keep 
 the students’ light from the casts, and, if possible, to 
 relieve the students of the discomfort of a glaring 
 light before their eyes. A light which is near 
 the cast will he too far from the students, if any 
 number are seated at the same cast, and a light 
 over the students will perhaps light the cast but 
 inadequately. 
 
 Casts, — Messrs. Lechertier, Barhe, & Co. issue 
 a good set of very elementary casts. The forms are 
 on the whole more beautiful than the generality of 
 elementary casts. Their full list of 51 casts is priced 
 at <£4 2^. Or we may select Nos. L7, L8, L12, L14, 
 L18, L19, L24, E8, Ell, E12, E16, E18, E20, E22, 
 and — 
 
 The cost of these will be £1. 
 
 Messrs. Brucciani ^ Co's Casts , — Of the casts 
 illustrated on the Government Syllabus of the 
 Elementary Examinations, Figs. 1 and 4 are Bruc- 
 ciani’s Nos. 2483/4, and /I. Figs. 2, 3 and 5 are 
 Brucciani’s Nos. 2315/6, 2315/5 and 2315/10. All 
 these are priced by the publishers at 2^. 6c?. each, 
 
ART CLASSES AND SCHOOLS OF ART, 
 
 105 
 
 and they occur in sets of 10 each, and each set is 
 priced at £1. The five above mentioned and illus- 
 trated on the syllabus form a good basis for a 
 selection, but we may raise the number to eight by 
 adding the Ivy-leaves No. 2315/4 and Nos. 2403/7 
 and 2483/9. 
 
 Cost of the eight, £1. 
 
 It would, of course, be cheaper to take one set of 
 10, the cost being also £1, but we should lose the 
 variety. The sets are very equal in standard, and 
 as the casts for the examination are provided by 
 the Government, there is nothing gained by having 
 exactly what happens to be illustrated on the 
 syllabus. 
 
 Then of Set No. 2584 we might add Nos. 6 
 and 9 ; No. 6 being 3 holly-leaves. No. 9 two oak- 
 leaves. 
 
 2 at 2s. 6(i. = bs. 
 
 Of Set No. 2482, the following — ribbon-scroll. 
 No. 7 ; bead-moulding. No. 14 ; leaf-moulding. 
 No. 13. 
 
 3 at 3^. = 95. 
 
 Of Set 2484 Nos. 1 , 2 and 4. These are rosettes 
 of good form. 
 
 3 at 35. 6<i. = 105. 6cZ. 
 
 Or 31 casts in all, £3 45. 6c?. 
 
 Those of Messrs. Lechertier, Barbe & Co., although 
 smaller and not sufficient for the examination, will 
 be found suitable for practice, if the class meets for 
 one or two hours only. There is some advantage 
 
106 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 in having a complete drawing made of a cast, and 
 for some students this is impossible if "casts of any 
 complication are given to them. Those illustrated 
 on the syllabus are too large to be completely drawn 
 and shaded in one lesson, until the student has made 
 considerable progress. 
 
 If we have to find a smaller selection even than 
 that given above, we may make the following 
 choice : — 
 
 Lechertier : Nos. E8, E16, E22, at I 5 . 4=d. each 
 = 45. 
 
 Nos. L7, Lll, L12, L13, L14, at Is. 6d. =7s. 6d. 
 
 Brucciani: No. 2315/6, No. 2483/4, No. 2484/2 
 = 85. 6 d 
 
 Total, Tl. 
 
 Cupboard. — It may be that blackboards, boards, 
 models and casts have all to be stowed away in a 
 cupboard at the close of the class. The size and 
 character of the cupboard will depend upon the 
 number and class of the objects it has to contain, 
 and these vary according to circumstances, no exact 
 design need here be indicated. It may, however, 
 be of some assistance if we briefly mention the space 
 which will in all probability have to be provided. 
 
 Blackboards, 42 x 30, will require a space 48 
 inches high, and the cupboard 31 inches deep, or 
 the shelves and drawers may lie back 2 inches and 
 so allow the boards, and folded easels, to stand 
 before them, the cupboard-doors folding over, and 
 holding them upright. 
 
ART CLASSES AND SCHOOLS OF ART. 107 
 
 Drawing -hoards may have their longer edges 
 horizontal, and will thus require 18 inches vertical 
 space. Battened boards, though stronger, take up 
 more room than clamped. If the papers are taken 
 from the boards at the close of the class, the student 
 sticking the drawing-pins in his indiarubber, the 
 boards may be packed more closely-. Clamped 
 boards require | inch each, battened require li inch 
 each. The space for the boards should be divided 
 vertically every 9 inches. 
 
 Imperial hoards and imperial frame for charts 
 require 32 x 24 inches and 36 x 28 inches respec- 
 tively, and depth of 2 inches each. These will stand 
 on their short edges. 
 
 There should be two or three drawers, in size 
 about 36 X 24 X 7 inches deep. If drawing hooks 
 are used they may be stacked in the space usually 
 occupied by boards ; slides may be arranged to 
 support them, and thus utilise the full depth of 
 the cupboard. Or they may be accommodated in 
 drawers. 
 
 The models will require shelves with plenty of 
 space above. The full elementary set, as in the 
 syllabus, stands in a space 2 feet 3 inches x 1 foot 
 9 inches x 2 feet high, above which 3 inches must 
 be allowed. Casts may hang on the inner surface 
 of the doors, if strong and high, or must hang in 
 the cupboard. They should not lean against one 
 another. Space must also be provided for black- 
 board, T-square, rulers, etc., and also a drawer for 
 
108 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 freehand copies. Models to illustrate Solid Geometry 
 will also probably have to be accommodated with 
 shelving. 
 
 Scheme II. 
 
 Equipment for a Class for the Study of Intermediate 
 Subjects ; held in Rooms not specially fitted for 
 Art Classes. 
 
 The term “ intermediate is not employed in the 
 “ Directory,” but is in common use to distinguish 
 those subjects which, though more advanced than 
 the “ Elementary,” do not yet treat of art in its 
 final form. That is to say, the work is still done 
 from examples or models constructed merely as 
 exercises. For example, the models used in shading 
 models are never seen in every-day life, nor will 
 the students trouble themselves further about the 
 casts used in the study of shading from cast, after 
 they have gone through the course of study for 
 which these are provided. And the same remark 
 applies to all the other “Intermediate” subjects. 
 And these are — 
 
 Elementary Perspective (subject Ic). 
 
 Advanced Freehand, or Outline from Cast (35). 
 
 Advanced Model Drawing or Shading Models 
 (fa). 
 
 Advanced Shading from Cast (55). To these 
 may be added — 
 
ART CLASSES AND SCHOOLS OF ART. 109 
 
 Elementary Modelling (18a), and 
 Elementary Design (22c), 
 
 The class we are now considering is sure to be 
 merely an extension of the Elementary Course dealt 
 with in Scheme I. We shall consider, therefore, that 
 provision is already made for the teaching of — 
 Elementary Freehand, 
 
 Elementary Model, 
 
 Elementarj^ Shading from Cast, and 
 Geometry ; 
 
 and the arrangements made for those subjects will, 
 in many cases, be available also for the Intermediate 
 of which we are now to treat. Thus, as we already 
 have an Elementary Shading class, the same lighting 
 will serve also for Outline Cast, Advanced Shading 
 from Cast, and Shading Models, and the provision 
 made for Geometry will also serve for Perspective. 
 Of course, if only one set of instruments, etc., is pro- 
 vided, two classes cannot use them at the same time, 
 but this is a matter easily arranged. 
 
 Perspective Class. 
 
 Furniture . — Same as for Geometry. 
 
 Blackboard . — A blackboard, the greater dimen- 
 sion of which is 42 inches, is rather small for 
 working out a problem definitely and correctly. It 
 is, perhaps, a mistake to work problems on the board 
 very carefully, as the students often merely imitate 
 the appearance of the diagram, and are not so careful 
 
110 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 to grasp the method. However, if a board is used 
 at all, one not less than 48 inches is desirable, and 
 it should be such as can be used horizontally ; so 
 that the boards on stands, being nearly always 
 vertical in their longer dimension, are not so suit- 
 able unless they are wide as the loose boards are 
 long. 
 
 Rule, etc. — T-square, rule, set squares, and com- 
 passes, as for Geometry (p. 103). Say 21<s. 6cL 
 
 Draioing Boards, as for Geometry and Freehand, 
 see p, 100. 
 
 Boohs. — Dennis, 2nd grade, 2s. 6c?. 
 
 Outline from Cast (Advanced Freehand). 
 
 The students should certainly commence their 
 study of this subject by drawing in outline the casts 
 jmovided for elementary shading. This is really 
 a matter of importance, as the treatment of receding 
 edge is, after all, the only addition in this subject to 
 what is done in Elementary Freehand, or from the 
 flat. Now that the Department provide the casts 
 for examination, there is every reason why a broad 
 view should be taken of the subject, and the casts 
 chosen of such patterns as will give the student 
 wide experience. 
 
 The arrangements made for shading will apply 
 also to this subject. We shall only have to add 
 a few suitable casts. The selection given on page 80 
 will be suitable. 
 
ART CLASSES AND SCHOOLS OF ART. ill 
 
 The casts provided for Advanced Shading will 
 also be useful. 
 
 Shading Models (or Advanced Model 
 Drawing). 
 
 The syllabus of the examination requires those 
 stipulated for Elementary or Outline Model Draw- 
 ing, with the addition of a small cube, a sphere, a 
 skeleton cube, and a vase. The cost of these four 
 is £1 4^. That of the Elementary set is £2 16s. 
 
 Or £4 complete. 
 
 If the class is large it will be well to provide a 
 complete set for the Shading, irrespective of those 
 for the Outline Drawing. But if some can be spared 
 from that set, they may be borrowed and some 
 expense saved. Nevertheless, the Shading class 
 should possess at least the two vases, the ring, 
 cylinder, cone, and hexagonal prism of the 
 Elementary set ; for even if there is not a large 
 Elementary class, these models will be too con- 
 stantly in use to admit being shared. 
 
 Cost of these £1 135. 3d . ; add necessary 
 additions £i 45. = £2 175. 3d. as lowest 
 possible estimate. 
 
 Of course it is possible for both the Outline and 
 Shading classes to use the same models, on different 
 evenings, but it is by no means desirable that such 
 arrangements should have to be made. 
 
 Board, to Support Models . — An imperial board 
 will be necessary, and, if no drawing-boards are to 
 
112 GUIDE TO ESTABLISHMENT AND EQUIPMENT OF 
 
 be used, a half-imperial must also be added, for 
 sometimes two models will become necessary. 
 
 Cost : imperial, 4^. 9rZ. ; half-imperial, 2^. 6cZ. 
 
 = 7^. 3c?. 
 
 The surface and edges of the board should be 
 painted white, or a very pale grey. 
 
 Advanced Shading from Cast. 
 
 Here, again, we have only to provide more casts, 
 and may make the following selection : — 
 
 Brucciani : Nos. 493, 4^. ; 2670, As.; 476, 36*.; 
 484B, 55. ; 2555, 4s. ; 1640, 7s. 6cZ. = £1 7s. 6d. 
 
 Hanging of Casts . — The committee will have to 
 face some expense for supporting the casts while in 
 use. They must be so placed that the light falls 
 upon them from the left, at about 45 degrees, and 
 must not be so high as to cast long shadows. 
 Circumstances will differ so much that it is almost 
 impossible even to give suggestions. 
 
 Elementary Modelling. 
 
 We shall require — 
 
 Clay, 
 
 Clay Bin, 
 
 Slabs to work on. 
 
 Casts, 
 
 and shall have to consider what Tables shall sup- 
 port the work. 
 
 One great objection to clay modelling is the 
 dirt (clean dirt though it be), which results from 
 
ART CLASSES AND SCHOOLS OF ART. 113 
 
 particles of clay falling from the hands, or from 
 lumps or crumbs of clay falling from the board. 
 Even if a sheet were spread upon the floor to catch 
 the errant morsels, the clay could hardly he kept 
 upon the sheet. The soles of one’s boots would 
 tread it into the sheet, and, moreover, carry in on 
 to the floor beyond. ^Nevertheless, a sheet would 
 offer considerable protection. And if trays 2 feet 
 square, with a ledge 3 inches high, were provided, 
 in which the student would keep not only his 
 model on its slab but also the clay he used, and the 
 crumbs which cannot be avoided, a much greater 
 cleanliness would result. 
 
 Clay . — Costs from 3s. to 65. per cwt., and in all 
 probability os. would pay for an ample supply. 
 The nearest potters will supply it. If too soft and 
 greasy to the touch a little silver sand or pumice 
 may be added. The white clay, not the red, should 
 be procured. 
 
 Clay-Bin . — As we are now considering a class 
 at which everything has to be put away, our bins 
 must be locked in a cupboard. Perhaps the cup- 
 board may be low, and the top open like a desk, 
 exposing the clay in the bins. There should be 
 two bins; size, say, 22 x 17 each, and 12 inches 
 deep. They must be lead lined, or of slate if it is 
 not too heavy. The lower part of the cupboard may 
 accommodate the students’ trays, etc., on shelves. 
 
 Cost of bin, say £5 to £10 ; cost of trays, say 
 36\ each. _ 
 
 I 
 
114 ART CLASSES AND SCHOOLS OF ART. 
 
 Slabs to work on . — These are sometimes merely 
 battened boards, sometimes slabs of slate. An 
 ordinary school slate serves very well, but with too 
 rough usage is liable to break. Damp clay holds 
 very firmly to slate. 
 
 Casts. — Brucciani, Nos. 2677, 3^. 6d ; 2222, 
 3 . 5 . U. ; 2556, 4.s . ; 2594, 65 . ; 344, 4^. = £1 Is. 
 
 Elementary Design. 
 
 The requirements for this subject will be the 
 same as for Geometry or Perspective, with the 
 addition of some examples, and vessels to hold 
 water. 
 
 Boards., half-imperial, at 2^. 6cZ. 
 
 Blackboard and its Rulers . — Probably those pro- 
 vided for Geometry can be used also for this subject, 
 but if it be provided separately the cost will be as 
 given on page 103. 
 
 Gallipots to hold water. 
 
 THE END. 
 
 PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES. 
 
ART CLASS 
 
 SUPPLIES. 
 
 THE OLDEST HOUSE IN THE 
 TRADE IS 
 
 REEVES & SONS, 
 
 CATALOGUE IS POST FREE. 
 
 113, CHEAPSIDE, LONDON. 
 
Books for Schools of Art, Art Libraries, Prizes, etc. 
 
 B. T. BATSFORD, 
 
 BOOKSELLER AND PUBLISHER, 
 
 Has the largest stock in England of HEW AND SECOND-HAND 
 ENGLISH AND FOREIGN 
 
 Books on all Branches of Art, 
 
 INCLUDING THE BEST OF BOTH OLD AND NEW, 
 
 And is prepared to supply SCHOOLS OF ART, LIBRARIES, 
 TEACHERS AND STUDENTS, 
 
 UPON THE MOST LIBERAL TERMS. 
 
 All the newest FOREIGN PUBLICATIONS kept in stock, 
 and supplied at the LOWEST RATE OF DISCOUNT. 
 
 A PRICED LIST of a Selection of some Modern Works u'pon 
 OREAMEET and the DECORATIVE ARTS sent u]jon 
 a'p'plication. 
 
 SPECIAL LISTS PREPARED and Gentlemen advised in making 
 selections, according to the amount to be expended. Selections 
 submitted for inspection and choice. 
 
 B. T. BATSFORD’S Unique Experience and Stock are placed 
 unreservedly at the disposal of gentlemen about to purchase selections 
 of works relating to Architecture, Construction, Ornament and 
 Decoration, the Minor Arts, Costume, etc. 
 
 ADDRESS— 
 
 Art Bookseller and Publisher, 
 
 94, HIGH HOLBORN, LONDON. 
 
LIST OW 
 
 Furijiture, Models, Books, Apparatus, etc., 
 
 WHICH CAN BE SEPPLIED BY 
 
 Messrs. CHAPMAN & HALL, Ltd. 
 
 FURNITURE. 
 
 Studenfs Desk 
 
 „ if with Foot-rest and Bar 
 
 Chairs ... ... ... 2s. 9d. to 6s. 
 
 Student’s Desk 
 
 „ at any angle to within 75° may he 
 
 laid horizontal or inclined with variable top 
 Long Tables... ... ... ... 20s. 
 
 Easels ... ... ... ... 5s. 
 
 Academy Donkey 
 Model Stand 
 Modelling Stand (4 ft.) 
 
 ,, „ (4 ft. 6 in.) ... 
 
 „ „ (6 ft.) 
 
 Rack for Models ... ... 20s. 
 
 „ „ Drawing Boards 
 
 „ if with doors, ... 
 
 „ if bars, hanger, and padlocks instead 
 
 25s. extra 
 
 Rack for Half Imperial 
 
 Stands for Casts (8 ft. long 5 ft. high) ... 40s. 
 
 Painting Stands ... ... £4 to £G. 
 
 Material Store ... ... ... 50s. 
 
 Writing Desk for Secretary ... ... from £5. 
 
 9 ft. Tables ... ... ... ... from £3. 
 
 24 Drawers for Drawings, Yellow Pine about £9. 
 Model Drawing : Low Table, 22 in. x 30 in. 
 
 from 15s. to 18s. 
 
 Orham. Oak. 
 
 £ s. 
 
 d. 
 
 £ 
 
 s. 
 
 d. 
 
 0 6 
 
 6 
 
 0 
 
 7 
 
 6 
 
 0 7 
 
 9 
 
 0 
 
 8 
 
 9 
 
 0 17 
 
 0 
 
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 18 
 
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 FRAMES FOR EXHIBITING PHOTOGRAPHS, DIAGRAMS, etc. 
 There is nothing so convenient as Oak Frames of uniform size, with 
 movable backs. These Frames can be hung upon a wall without waste of 
 intervening space, and when not in use can be stacked away and take the 
 
2 
 
 LIST OF FURNITUBE, MODELS, 
 
 least possible room. The unmounted Photographs can be exhibited by 
 cutting them into a sheet of paper the size of the frame, or can be laid 
 loose upon the glass, and will be kept in place by the back of the frame. 
 The Frames are well made of good solid Oak, the glass is pasted in the 
 sides to prevent the dust getting in. The movable backs are made on 
 two systems. Any size can be supplied, but the sizes recommended are as 
 
 follows : — 
 
 Outside size. 
 
 PEICES — STYLE I. 
 
 Single. Per dozen. 
 
 Per twenty-four. 
 
 Royal 
 
 24i X 19| 
 
 6s. 
 
 5s. Qd. each. 
 
 5s. each. 
 
 Imperial ... 
 
 301 X 22| 
 
 Is. 
 
 6s. Qd. „ 
 
 6s. „ 
 
 Atlas 
 
 351 X 281 
 
 9s. Qd. 
 
 8s. Qd. „ 
 
 8s. Qd. „ 
 
 Style ii. — With fixed Battens and special Metal Fastenings, most 
 convenient and durable. Prices : Koyal size, 2s. ; Imperial size, 2s. Qd . ; 
 and Atlas size, 3s. each extra to Style I. 
 
 SCIENCE AND ART REGISTERS. 
 
 In the Schools of Science and Art, working on the syllabuses of the Science 
 and Art Department, a great want has long been felt of well-planned Kegisters 
 for the systematic record of all necessary particulars with respect to successful 
 Students in attendance at the various Classes. 
 
 To meet this want, two Kegisters have been compiled which, if regularly 
 and carefully written up, will greatly facilitate the preparation of Forms 
 and required to be submitted to the Department in support of claims 
 to payments on the Successes of Students at the Annual Examinations, and 
 will, moreover, be of invaluable service in the preparation of Returns that may 
 hereafter be required. Price Is. 6d. per Register. 
 
 FREEHAND EXAMPLES. 
 
 FREEHAND EXAMPLES. By E. R. Tayloe, Head Master of the 
 Municipal School of Art, Birmingham. On 60 Cards, 7 by 5 in., gradated 
 up to the 7th Standard and the 2nd Grade Examination. 5s. 
 
 ENLARGED DIAGRAMS. By E. R. Tayloe. On 60 Cards, 21 by 15 in., 
 gradated up to the 7th Standard and the 2nd Grade Examination, for the 
 collective teaching of large Classes. Explanatory Diagrams are shown for 
 the Teacher’s guidance, but so small or light as not to be seen by the Class. 
 Two Parts : Elementary Set of 30, 9s. ; Advanced Set of 30, 9s. ; complete, 
 18s. 
 
 RENAISSANCE ORNAMENT. Art School Series, by I. P. Feasee. 2 
 Books, 12 Examples each, dd. each. 
 
 FREEHAND DRAWING CARDS. By Feank G. Jackson, of the Bir- 
 mingham Municipal School of Art. Standards III., IV., and V., 2s. each. 
 VI. and VII., 2s. 6d. each, in strong cloth cases. 
 
 GRAMMATIK DER ORNAMENTE. By E. Jacobsthal. In 7 Parts of 
 20 Plates each. Unmounted, £3 13s. 6d . ; mounted on cardboard, £11 4s. 
 The Parts can be had separately. 
 
 FOYNTEH (E. J.), B.A., issued under the superintendence of — 
 
 THE SOUTH KENSINGTON FREEHAND DRAWING SERIES. 
 Elementary. Two packets, books ^d., cards 4 packets, dd. each. First 
 
BOOKS, APPARATUS, ETC. 
 
 3 
 
 Grade. Six packets, books 4cZ., cards Is. each. Second Grade. Four 
 packets, books Is., cards Is. Qd. each. 
 
 BACON’S EXCELSIOK GEADUATED DEAWING CHAETS. Designed 
 by F, Steeley and B. H. Trotman, Art Masters and Inspecting Teachers 
 of Drawing in the Birmingham Board Schools. In 5 Sets. Standards 
 I.-II. ; III. ; IV. ; V. ; and VI.-VII. Each Set contains 24 Sheets, size 
 20 by 15 in,, with Ornamental Cover. On strong paper, 5s. Qd. ; on cloth, 
 10s. Qd. per set. 
 
 BACON’S EXCELSIOE SECOND GEADE FEEEHAND. Copies 3 Sets, 
 Is. Qd. each. Drawing Cards, 4 packets. Is. Qd. each. 
 
 E. G. HATTON’S CHAETS OF OENAMENTAL DETAILS. Set of 
 10 Charts, 15s., or in Two Parts, 8s. each, in colours, of floral and conven- 
 ^ tional forms, suitable for Elementary Design and Freehand. These Charts 
 are intended to be placed before a class in Elementary Design as supplying 
 the form of flower, leaf, etc., which is to be introduced into the exercise. 
 They will be boldly printed in harmonious colours, on tough paper, and in 
 such a manner as to render them suitable for imitation by direct brush- 
 work. In 1 Set, 15s. 
 
 OUTLINES OF TAESIA. 4 Plates, mounted, 3s. Qd . ; unmounted. Id. 
 
 CHARTS FOR MODEL DRAWING. 
 
 By T. C. Barfield. 10 Imperial Sheets, 8s, ; mounted on rollers, varnished, 
 18s. ; on linen only, 17s. Sheets 1 and 2 are occupied with illustrations of 
 some of the principles necessary to be understood in order to draw intelli- 
 gently. With the teacher’s notes which are upon them. Several important 
 rules are also given. No. 3 is a group of models to show the convergence of 
 aU horizontal lines in the horizon ; a small perspective diagram of the same 
 group shows all the retiring lines actually carried out to their respective 
 vanishing points. No. 4 the convergence of inclined lines is demonstrated 
 by the same method. Special methods for drawing several models are 
 given in Lessons 5, 6, and 7, with notes of the perspective of pentagons and 
 hexagons. No. 8 is an important lesson, illustrating the perspective of circles 
 in various positions, and the method of drawing them. No. 9 the actual 
 shape of several vases is carefully compared with their usual appearance by 
 means of separate diagrams. The concluding lesson shows the plan of a 
 simple group of models, with the positions of nine separate points of view, 
 and the picture obtained from each place is shown. These lessons are the 
 outcome of many years’ practical experience, and will prove a safe guide to 
 this interesting subject. They will be found specially adapted for prepar- 
 ing students for the second grade examination. 
 
 PANELS. 
 
 E. G. HATTON’S VENETIAN PANELS. See page 11. 
 
 WISE’S DECOEATED MODELS AND PANELS. For the Teaching of 
 Freehand, Light and Shade, etc. These Panels are likely to be more 
 interesting and attractive to Students than ordinary examples. Size of 
 Panel, 15 by 28 in. ; price, Gs. each, net. Complete set of 12 Panels, 
 £3 10s. net. 
 
4 
 
 LIST OF FURNITURE, MODELS, 
 
 MODELS. 
 
 INDISPENSABLE SET OF MODELS. For Subject L, Practical Plane 
 and Solid Geometry. 
 
 Model showing the projections, traces, 
 inclinations of lines, etc. 
 
 Cone, three sections 
 
 Triangular prism ... ... wire 
 
 Square „ ... ... ... „ 
 
 Hexagonal ,, ... ... ... „ 
 
 Cube ... ... ... ... „ 
 
 Square pyramid ... ... ... „ 
 
 Cylinder ... ... ... „ 
 
 Cone ... ... ... ... „ 
 
 s. 
 
 net 30 
 
 d. 
 
 0 
 
 0 
 
 0 
 
 6 
 
 0 
 
 0 
 
 6 
 
 0 
 
 0 
 
 MILLIS’ WIRE SKELETON MODELS FOR ILLUSTRATING 
 GEOMETRY. 
 
 Triangular prism 
 Square „ 
 
 Hexagonal ,. 
 
 Cube ... 
 
 Square pyramid 
 Cylinder 
 Cone ... 
 
 Octahedron 
 Tetrahedron 
 Dodecahedron ... 
 
 Icoshedron 
 
 Penetration of two cylinders (axes at right angles) 
 
 „ „ „ ( „ oblique) 
 
 „ cylinder and cone ... 
 
 „ prism and pyramid 
 
 „ sphere and cone 
 
 Cone with three sections 
 Section of prism in wire (hexagonal) 
 
 „ pyramid ,, (square) 
 
 „ cylinder „ 
 
 ,, prism (square) 
 
 „ cone, 5 in. (3 sections) 
 
 ,, ,, 8 in. ,, ... ... 
 
 s. d. 
 
 net 3 0 
 „ 3 6 
 „ 5 0 
 » 4 0 
 „ 3 G 
 „ 3 6 
 „ 3 0 
 ,,5 6 
 ,,3 6 
 „ 6 6 
 „ 7 6 
 „ 9 0 
 „ 9 0 
 „ 9 0 
 „ 10 0 
 „ 9 0 
 „ 8 0 
 „ 6 0 
 „ 5 0 
 „ 5 0 
 „ 5 0 
 .,5 0 
 „ 8 0 
 
 APPARATUS. 
 
 R. G. HATTON’S BLACKBOARD HORIZONTAL RULER. In place of 
 the T-square. The inadequacy of the ordinary T-square for use at the 
 blackboard, and numerous inconveniences attendant upon it, have prompted 
 the construction of a new instrument acting upon the principle of the 
 parallel ruler. It may he fastened permanently to the bottom of the 
 blackboard, or may rest upon the easel pegs, being provided with a catch 
 which holds it in position. In use, it can be raised easily to any height 
 within its range, and as its joints can readily be rendered rigid, the set- 
 squares can be left standing upon it. 6 ft., 15s. net ; 5 ft., 13s. net ; 4 ft., 
 11s. net ; 3 ft., 6s. net. 
 
BOOKS, APPARATUS, ETC, 
 
 5 
 
 MARLE’S BLACKBOARD SERIES. (1) Flat Scale Ruler, 3 ft. 6 iu. long, 
 3s. (2) Patent Set Square. 45°, 2s. 6d. (3) Patent Set Square, 60°, 2s. 
 
 BLACKBOARD T-SQUARES, with a special arrangement for locking the 
 Square in any position upon the board, so as to allow free use of both hands 
 when drawing lines with the Set Squares. The T-squares are strongly 
 made of oak, and are used to an ordinary blackboard. 36 in. blade, 6s. net ^ 
 48 in. blade, 6s. 6d. net ; 54 in. blade, 7s. net. 
 
 BLACKBOARD RULERS, 36 in. Polished Oak, bevelled edge and handle, 
 marked for inches, angles, scale of chords, engineer’s scale, decimal scale, 
 3s. net. 
 
 BLACKBOARD SET SQUARES, framed, and extra strong, 18 in., 45° and 
 60°. The set, 4s. 6d. net. 
 
 BLACKBOARD COMPASSES. 12 in., 5s. ; 15 in., 6s. ; 18 in., 7s. 
 
 THE NEW BATTENED DRAWING BOARD. Complaints have been 
 made that ordinary Drawing Boards are sometimes found to burst their 
 panels or clamps ; but as every description of wood is liable to expand or 
 contract according to the variable himiidity of the atmosphere and in 
 proportion to its natural power of absorption, all articles manufactured of 
 wood, how^ever thoroughly seasoned, are liable to be affected, more or less, 
 from this cause. Drawing Boards have been constructed w'hich, while 
 possessing all the qualifications of the “ Engineer,” ean be sold at the same 
 price as the “ Clamped.” 
 
 
 
 Size. 
 
 s. 
 
 d. 
 
 Half Royal 
 
 17 
 
 X lOJ in. 
 
 1 
 
 6 
 
 Half Imperial 
 
 19 
 
 X 13i in. 
 
 1 
 
 9 
 
 Royal 
 
 22 
 
 X 17ln. 
 
 2 
 
 6 
 
 Imperial 
 
 28 
 
 X 19 in. 
 
 3 
 
 9 
 
 Imperial, full size 
 
 31 
 
 X 23 in. 
 
 4 
 
 9 
 
 ABLETT GLASS PLANE FOR 
 
 TEACHING 
 
 GEOMETRY, 
 
 39 by 30 in., £1 16s. ; 30 by 24 in., £1 13s. ; 24 by 18 in., 18s. 
 
 DARLINGTON SOLID GEOMETRY SLATE BOARD. £3 15s. 
 
 HAGGERTY’S SOLID GEOMETRY SLATE BOARDS. From £3. 
 
 BLACK AND GREY SLATED BOARDS. Guaranteed for 6 years. 
 Suzanne’s slating is entirely different from the black painting generally used. 
 It is a very fine dead black, very soft to the touch. After 10 years’ use it 
 has been found as good as when new. It has been approved and adopted 
 by the School Board for London since 1880. The grey board is used in 
 preference to the glass board, being unbreakable, and admits of being 
 written on with black and coloured crayons, thus rendering the tints 
 according to their natural colour. These have been adopted in all 
 drawfing schools of Paris. 
 
 BLACK SLATED BOARD. 
 
 1 side 
 
 2 sides 
 
 s. d. 
 
 { 36 x 48 in. ... 10 0 
 
 49 X 72 in. ... 18 0 
 
 Any size made to order, 
 8s. per sq. yard. 
 
 ( 36 X 48 in. ... 12 0 
 
 j 48 x 72 in. ... 23 0 
 
 1 Any size made to order, 
 ( 10s. per sq. yard. 
 
 GREY SLATED BOARD. 
 
 1 side. 
 
 1 side 
 grey and 
 the other 
 side 
 black. 
 
 
 s. 
 
 d. 
 
 36 X 48 in. 
 
 10 
 
 6 
 
 48 X 72 in. 
 
 20 
 
 0 
 
 Any size made to 
 
 order. 
 
 9s. per sq. yard. 
 
 
 
 .36 X 48 in. 
 
 13 
 
 0 
 
 48 X 72 in. 
 
 25 
 
 0 
 
 Any size made to 
 
 order. 
 
 1 Is. per sq. yard. 
 
 
 
 These prices are net. 
 
6 
 
 LIST OF FURNITURE, MODELS, 
 
 MODEL DRAWING. 
 
 ELEMENTAKY AND ADVANCED STAGES. Models and Vases pre- 
 scribed by the Science and Art Department for use at the Art Examina- 
 tions. These Models and Vases have been duly approved by the authorities, 
 and are specially manufactured for Messrs. Chapman & Hall, Limited. 
 The entire collection consists of — 
 
 (1) Vase — Bottle. 
 
 (2) Vase — Majolica Vase. 
 
 (3) Vase — Large Earthenware Vase. 
 
 (4) Cube — Large. 
 
 (5) Cube — Small. 
 
 (6) Cone. 
 
 (7) Cylinder. 
 
 Price in Box. 
 
 (8) Hexagonal Prism. 
 
 (9) Triangular Prism. 
 
 (10) Square Prism. 
 
 (11) Square Pyramid. 
 
 (12) Skeleton Cube. 
 
 (13) Sphere. 
 
 (14) Ring. 
 
 Complete, £4 net. 
 
 Set for Elementary Stage (Subject 3 A), £2 16^. net. Set for Advanced 
 Stage (Subject 3A), £1 4s. net. Prices of Separate Models, etc. (packing 
 will be charged as an extra item), as under : No. 1, 5s. 6cZ. ; No. 2, 8s. Qd. ; 
 No. 3, 6s. ; Nos. 4, 6, 7, 8, 11, 12, and 13, 6s. ^d. each ; Nos. 9 and 10, 
 5s. Qd. each ; Nos. 5 and 14, 3s. each net. Imperial board, 30 x 22, as 
 recommended by the Department, 4s. 2d. net. 
 
 It has been suggested that models, to supplement the above, would be found 
 extremely useful. Under the advice of an experienced teacher, the follow- 
 ing have been added. The additional models are unifonn in size with those 
 prescribed by the Department : — 
 
 Pentagonal prism 
 
 ... 5 
 
 d. 
 
 6 
 
 Hexagonal slab 
 
 s. 
 
 ... 5 
 
 d. 
 
 0 
 
 Treble cross 
 
 ... 5 
 
 0 
 
 Hexagonal pyramid 
 
 ... 5 
 
 6 
 
 Disc 
 
 ... 5 
 
 6 
 
 Triangular pyramid 
 
 ... 5 
 
 0 
 
 Half disc ... 
 
 ... 4 
 
 0 
 
 Vase 
 
 ... 6 
 
 0 
 
 Frame 
 
 ... 4 
 
 0 
 
 Vase 
 
 ... 5 
 
 0 
 
 TAYLOR AND McKECHNIE’S CASTS. 
 
 MODELLING. The Casts mostly used for the teaching of modelling are from 
 fragments of historic ornament ; the originals being generally carved in 
 wood or stone. Such casts, therefore, cannot show those qualities which are 
 best expressed in soft clay, but the opposite qualities : they are carved out 
 of hard material, and not built up in plastic clay ; and for this reason, and 
 because they are not specially designed for teaching, and are thus often too 
 full of small details and tine lines, they are unsuitable as first exercises in 
 clay. This evil has been long felt : and to attempt to remedy it, sets of 
 elementary casts (French or German), mostly designed for the teaching 
 of outline drawing, are being used for the teaching of modelling and light 
 and shade. They are, however, lacking in those qualities of breadth and 
 texture of surface, and fulness of relief essential for the efficient teaching 
 of modelling. In the new series of 14 models an attempt is made to 
 remedy these defects. Dealing boldly with relief, they are more interesting 
 and effective, and will be found to be easier than casts which, at first sight, 
 appear to be more elementary because they are in less relief, but which are 
 also liney and highly polished. On a few of the casts there are smaller 
 . models not intended to be copied, but which show the various stages of 
 work. For example : The capital — 1st, the half cylinder ; 2nd, the rect- 
 angular slab or top ; 3rd, the inverted bell shape joining and harmonizing 
 these forms. 
 
BOOKS, APPARATUS, ETC. 
 
 7 
 
 LIGHT AND SHADE. Many of the points above referred to will apply to 
 light and shade drawing from these casts, more especially the simplicity 
 caused by fewness of parts, the fulness of the relief, and that they are large 
 enough for a class. They will also be found to be of use in the teaching of 
 outline drawing. The casts range in size from 16 inches long to 12 inches 
 square, and are thus large enough for one cast to be used by a class. The 
 casts are very light, yet strong, being made in fibrous plaster. Price of set 
 • of 14 casts, including cost of package and packing, £2 5s. net. 
 
 LECHAETIER, BARBE, & CO. Casts, Specialities, etc., offered hy this 
 firm can be supplied hy Messrs. Chapman & Hall. Particulars on 
 application. 
 
 BOOKS. 
 
 SOUTH KENSINGTON MUSEUM ART HANDBOOKS. Handsomely 
 printed in large crown 8vo. Published for the Committee of the Council 
 on Education : — 
 
 IRONWORK : From the Earliest Times to the End of the Mediaeval s. d. 
 Period. By J. Starkie Gardner. With 57 Illustrations ... 3 0 
 
 EARLY CHRISTIAN ART IN IRELAND. By Margaret Stokes. 
 
 With 106 Woodcuts ... ... ... ... ... 4 0 
 
 THE ART OF THE SARACENS IN EGYPT. By Stanley Lane 
 
 Poole, B.A., M.A.R.S. With 108 Woodcuts ... ... ... 4 0 
 
 ENGLISH PORCELAIN : A Handbook to the China made in England 
 during the 18th Century. By Prof. A. H. Church, M.A. With 
 numerous Woodcuts .. ... ... ... ...3 0 
 
 RUSSIAN ART AND ART OBJECTS IN RUSSIA : A Handbook 
 to the Reproduction of Goldsmiths’ work and other Art Treasures 
 from that country in the South Kensington Museum. By Alfred 
 Maskell. With Illustrations ... ... ... ... 4 6 
 
 FRENCH POTTERY. By Paul Gasnault and Edouard Garnier. 
 
 With Illustrations and marks ... ... ... ...3 0 
 
 ENGLISH EARTHENWARE: A Handbook to the Wares made in 
 England during the 17th and 18th Centuries. By Prof. A. H. 
 Church, M.A. With numerous Woodcuts ... ... ...3 0 
 
 INDUSTRIAL ARTS OF DENMARK : From the Earliest Times to 
 the Danish Conquest of England. By J. J. A. Worsaae, Hon. 
 
 F.S.A., etc. With Map and Woodcuts ... ... ... 4 6 
 
 INDUSTRIAL ARTS OF SCANDINAVIA IN THE PAGAN 
 TIME. By Hans Hildebrand, Royal Antiquary of Sweden. 
 
 With numerous Woodcuts ... ... ... ... ... 2 6 
 
 PRECIOUS STONES : Considered in their Scientific and Artistic 
 relations. By Prof. A. H. Church, M.A. With a Coloured Plate 
 and Woodcuts ... ... ... ... ... ... ' 2 6 
 
 INDUSTRIAL ARTS OF INDIA. By Sir George C. M. Birdwood, 
 
 C.S.I., etc. With Map and Woodcuts ... Demy 8vo, 14 0 
 
8 
 
 LIST OF FURNITURE, MODELS, 
 
 HANDBOOK TO THE DYCE AND FOESTER COLLECTIONS s. 
 IN THE SOUTH KENSINGTON MUSEUM. With Portraits 
 and Facsimiles ... ... ... ... ... ... 2 
 
 INDUSTRIAL ARTS IN SPAIN. By Joan F. Eiano. With 
 numerous Woodcuts ... ... ... ... ... 4 
 
 GLASS. By Alexander Nesbitt. With numerous Woodcuts ... 2 
 
 GOLD AND SILVER SMITHS’ WORK. By John Hungerfoed 
 Pollen, M. A. With numerous Woodcuts ... ... ... 2 
 
 TAPESTRY. By Alfred DE Champeaux. With Woodcuts ... 2 
 
 BRONZES. By C. Drury E. Fortnum, F.S.A. With numerous 
 
 Woodcuts... ... ... ... ... ... ... 2 
 
 JAPANESE POTTERY. Being a Native Report. With an Introduc- 
 tion and Catalogue by A. W. Franks, M.A., F.R.S., F.S.A. With 
 Illustrations and marks ... ... ... ... ... 2 
 
 INDUSTRIAL ARTS : Historical Sketches. With numerous Illus- 
 trations... ... ... ... ... ... ... 3 
 
 TEXTILE FABRICS. By the Very Rev. Daniel Rocs, D.D. With 
 
 numerous Woodcuts ... ... ... ... ... 2 
 
 JONES COLLECTION IN THE SOUTH KENSINGTON MUSEUM. 
 With Portrait and Woodcuts ... ... ... ... ... 2 
 
 COLLEGE AND CORPORATION PLATE. A Handbook to the 
 Reproductions of Silver Plate in the South Kensington Museum from 
 Celebrated English Collections. By Wilfred Joseph Cripps, M.A., 
 F.S.A. With Illustrations ... ... ... ... ... 2 
 
 IVORIES : ANCIENT AND MEDIEVAL. By William Maskell. 
 
 With numerous Woodcuts ... ... ... ... ... 2 
 
 ANCIENT AND MODERN FURNITURE AND WOODWORK. By 
 John Hungerford Pollen, M, A. With numerous Woodcuts ... 2 
 
 MAIOLICA. By C. Drury E. Fortnum, F.S.A. With numerous 
 
 Woodcuts... ... ... ... ... ... ... 2 
 
 MUSICAL INSTRUMENTS. By Carl Engel. With numerous 
 
 Woodcuts... ... ... ... ... ... ... 2 
 
 MANUAL OF DESIGN. Compiled from the Writings and Addresses 
 of Richard Redgrave, R.A. By Gilbert R. Redgrave. With 
 Woodcuts ... ... ... ... ... ... 2 
 
 PERSIAN ART. By Major R. Murdock Smith, R.E. With Map 
 and Woodcuts. Second edition, enlarged ... ... ... 2 
 
 DECORATIVE DESIGN. An Elementary Text-Book of Principles 
 and Practice. By Frank G. Jackson, Lecturer on Principles of 
 Ornament and Teacher of Technical Art Processes in the Birming- 
 ham School of Art. Fully Illustrated. Third edition. 
 
 Large crown 8vo, 7 
 
 The intention of the Author is to assist young students in their early decorative 
 attempts by showing them the constructive origin of Ornamentation, and to place 
 before them such guiding principles and orderly methods as are found to under- 
 lie all true decoration of every kind. 
 
 THE THEORY AND PRACTICE OF DESIGN. An Advanced 
 Text-Book on Decorative Art. Being a sequel to the Author’s 
 
 d. 
 
 6 
 
 0 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 0 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 0 
 
 G 
 
BOOKS, APPARATUS, ETC. 
 
 9 
 
 “ Lessons on Decorative Design.’’ By Fkank G. Jackson, Lecturer s. d. 
 on Principles of Ornament and Teacher of Technical Art Processes 
 in the Birmingham School of Art. With 700 Illustrations. 
 
 Large crown 8vo, 9 0 
 
 This is a continuation of Mr. Jackson’s book on Decorative Design, and is 
 intended to help advanced students. Throughout the work the Author insists 
 upon the observance of principles ; reg ird for construction, and the law of 
 development, as necessary aids in a student’s education. 
 
 ELEMENTAKY DESIGN. Being a Theoretical and Practical Intro- 
 duction in the Art of Decoration. By Kichard G. Hatton, Head 
 Master, Art School, Durham College of Science, Newcastle-on-Tyne. 
 
 With 110 Illustrations ... ... ... Crown 8vo, 2 G 
 
 The work is divided into twelve chapters, which treat of Certain Principles of 
 Decorative Art; Dynamic and Static Forms; The Paradox of Decoration; Con- 
 struction of Details; Filling Spaces ; Distribution of Masses; Method of Delinea- 
 tion ; Geometrical Disposition and Arrangements ; Setting out Repeating Borders ; 
 
 Endless Patterns ; and Interest and Expression. 
 
 FIGUKE DRAWING AND COMPOSITION. Being a number of 
 Hints for the Student and Designer upon the Treatment of the 
 Human Figure. By Richard G. Hatton, Head Master, Art School, 
 
 Durham College of Science, Newcastle-on-Tyue. With 500 Diagrams 
 
 Crown 8 VO, 9 0 
 
 THE PRINCIPLES OF ORNAMENT. By James Ward, Head 
 Master of the Macclesfield School of Art. Edited by George 
 Aitchison, A.R.A., Professor of Architecture at the Royal Academy 
 of Arts. Fully Illustrated ... ... ... Crown 8vo, 7 G 
 
 Although there are many excellent text-books on Ornament, there are none 
 that exclusively treat of tlie theory or what is known as the “principles of orna- 
 ment.” To meet this want, which was seriously felt by many of the principal 
 Art Masters in England, this volume has been produced. 
 
 THE CHARACTERISTICS OF STYLES. An Introduction to the 
 Study of the History of Ornamental Art. By R. N. Wornum. 
 
 Ninth edition. Fully Illustrated ... ... Royal 8vo, 8 0 
 
 ELEMENTARY ART TEACHING. An Educational and Technical 
 Guide for Teachers and Learners, including Infant School work; 
 
 The Work of the Standards ; Freehand ; Geometry ; Model Draw- 
 ing ; Nature Drawing ; Colours ; Light and Shade ; Modelling and 
 Design. By E. R. Taylor, Head Master of the Birmingham Muni- 
 cipal School of Art. With over GOO Diagrams and Illustrations. 
 
 Second edition ... ... ... ... Imperial 8vo, 10 G 
 
 PRACTICAL HANDBOOK OF DRAWING FOR MODERN 
 METHODS OF REPRODUCTION. By C. G. Harper. Fully 
 Illustrated ... ... ... ... Large crown 8vo, 7 G 
 
 CoxTKNTS. — Introductory— The Rise of an Art— Comparative Processes — Paper — 
 
 Pens — Inks — The Making of a Peu-drawing — Wash drawings — Styles and Manner 
 — Painters’ Pen-drawings. 
 
 L’ART PRATIQUE. By Hirth. Published annually ; copies can be 
 
 supplied for several years. Numerous ornamental Designs net IG 0 
 
 GRAMMAR OF ORNAMENT. By Owen Jones ... ... net £3 3 0 
 
 SCIOGRAPHY, OR PARALLEL AND RADIAL PROJECTION 
 OF SHADOWS. Being a Course of Exercises for the use of 
 Students in Architectural and Engineering Drawing, and for Candi- 
 dates Preparing for the Examinations in this subject and in Third 
 Grade Perspective. By R. Pratt, Head Master, School of Science 
 and Art, Barrow-in-Furness. With numerous Plates. Oblong 4to, 7 G 
 
10 
 
 LIST OF FURNITURE, MODELS, 
 
 STUDIES FROM THE MUSEUMS. 
 
 WOOD CAKVINGS. — In 5 folios, containing 18 plates each. 1. Home Art 
 Series : 2. Architectural ; 3. Miscellaneous ; 4. Cabinets, etc. ; 5. Figures 
 etc. Price per folio, 12s. net ; single sheets, Qd. ; packing and postage 
 single sheet, 3d!. ; ditto, folio. Is. 
 
 Notre Dame. 
 
 Cathedral. 
 
 PHOTOGKAPHS FEOM CASTS IN KOYAL AKCHITECTUKAL 
 MUSEUM, WESTMINSTER. Single copies, 2s. Qd. net. In Album, 
 hound, £6 6s. net. 
 
 1. The Museum. General View from the Rostrum. 
 
 2. The Museum. General View showing Lincoln Angels. 
 
 Athens. Erectheum. Angle Capital, etc. 
 
 Capitals. 
 
 Canopies. 
 
 Portions of Iron Work. 
 
 Portions of Iron Work, etc. 
 
 Various details. 
 
 Figures of Angels. 
 
 Figures from W. Porch. 
 
 Panels, Adam and Eve. 
 
 „ various and Grotesques. 
 
 „ Grotesques. 
 
 „ Creation and Grotesques. 
 Nuremburg. St. Sebald’s Shrine. The Apostles. 
 
 Amiens. Cathedral. Misereres. 
 
 Amiens. „ Spandrils from Stalls. 
 
 Amiens. „ Elbows of Stalls. 
 
 Amiens. „ Elbows and Corbel of Stalls. 
 
 Amiens. „ Panels of Foliage. 
 
 Amiens. „ Cornice and Panels. 
 
 German. Panels various and Foliage. 
 
 Verona. Tombs of the Scaligeri. Panels. 
 
 Venice. St. Mark’s. Panel, St. George and Dragon. 
 
 Venice. Doge’s Palace. Portions of Capitals. 
 
 Venice. „ „ „ „ 
 
 3. 
 
 4. 
 
 5. 
 
 6 . 
 
 7. 
 
 8 . 
 9. 
 
 10 . 
 
 11 . 
 
 12 . 
 
 13. 
 
 14. 
 
 15. 
 
 16. 
 
 17. 
 
 18. 
 
 19. 
 
 20 . 
 21 . 
 22 . 
 
 23. 
 
 24. 
 
 25. 
 
 26. 
 
 27. 
 
 28. 
 
 29. 
 
 30. 
 
 31. 
 
 32. 
 
 33. 
 
 34. 
 
 35. 
 
 36. 
 
 37. 
 
 38. 
 
 39. 
 
 40. 
 
 41. 
 
 42. 
 
 43. 
 
 44. 
 
 45. 
 
 46. 
 
 Paris. 
 
 Paris. 
 
 Paris, 
 
 Paris. 
 
 Chartres. 
 
 Chartres. „ 
 
 Chartres. ,, 
 
 Rouen. Cathedral. 
 Rouen. „ 
 
 Rouen. „ 
 
 Rouen. „ 
 
 Venice. „ „ „ „ 
 
 Florence. Chiberti Gates. Competition Panels. 
 
 Florence. Baptistery. Panels by Ghiberti and Giotto. 
 Rochester and St. David’s. Arch Mouldings and Capitals. 
 Rutland, Exton, and Worksop Priory. Capitals. 
 
 Worksop Priory and Adel Church, Yorks. Capitals. 
 Llandaff Cathedral. Portions of Capitals. 
 
 Salisbury Chapter-house. Capitals and Heads. 
 
 Salisbury Cathedral. Portions of Capitals. 
 
 Chertsey and Salisbury. Capitals. 
 
 Salisbury Cathedral. Elbows of Stalls and Boss. 
 
 St. Alban’s and Ely Cathedrals. Capitals. 
 
 Wells, Salisbury, and Hereford. Spandrils, Foliage. 
 Hereford Cathedral, and Stone Church, Kent. 
 
 Ely Cathedral. Portion of Capitals. 
 
 Westminster, Lincoln, and Canterbury. Diapers. 
 Westminster Abbey. Capitals. 
 
 Westminster Abbey. „ 
 
 Westminster Chapter-house. “ The Root of Jesse. 
 Westminster Vestibule. Boss from Vaulting. 
 
BOOKS, APPARATUS, ETC. 
 
 LI 
 
 47. Westminster Vestibule. Boss from Vaulting. 
 
 48. Westminster „ Boss „ 
 
 49. Westminster „ Bosses from Vaulting. 
 
 50. Westminster Abbey. Details of Foliage. 
 
 51. Westminster. Henry VII.’s Chapel. Panel from Tomb. 
 
 52. Westminster. Houses of Parliament. Six Panels. 
 
 53. Lincoln Cathedral. Capital and Misereres. 
 
 54. Lincoln Cathedral. Cusp Terminals from Arcade. 
 
 55. Westminster. Queen Eleanor’s Tomb. Iron Work. 
 
 56. Chester Cathedi’al. Iron Work for Cupboard, etc. 
 
 57. Hereford Cathedral. Figures from Cantelupe Tomb. 
 
 58. Hereford Cathedral. Figures from Tomb, etc. 
 
 59. Ludlow and other Churches. Poppy-heads. 
 
 60. Ludlow and other Churches. Poppy-heads. 
 
 BELIEF OKNAMENT OF ITALIAN KENAISSANCE. 
 
 a. Twenty original Photographs- 
 h. Nineteen „ „ 
 
 Thirteen 
 
 Twelve 
 
 Eleven 
 
 Twelve 
 
 -The Certosa of Pavia 
 John of Bologna 
 Cathedral of Milan 
 Figures, Certosa of Pavia 
 Details, Certosa of Pavia 
 Pilasters, Certosa of Pavia 
 Details from Venice, I. 
 Details from Venice, II. 
 Details from Venice, HI. 
 •Details from Venice and 
 Brescia 
 
 Selected Pilasters 
 Capitals and other Details 
 Selected Panels ... 
 Selected Details . . . 
 
 net 1 2 0 
 
 „ 1 1 6 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 „ 0 15 0 
 
 R. G. HATTON’S VENETIAN PANELS. Stout millboards, covered (back 
 and front) with coloured canvas, specially prepared for oil or tempera 
 painting. The colours are themselves beautiful, and the slightly rough 
 grain of the canvas pleasant to work on. These boards will be found 
 invaluable for Monochrome painting, for Charcoal drawing, Pastel painting. 
 Oil painting, and for numerous classes of decorative work. Prices, 30 x 
 25 in., 3s. net ; 30 X 22 in., 3s. net ; 25 x 15 in.. Is. M. net ; 15 X 12^ in., 
 ^d. net. 
 
 ELKINGTON & CO., MANSELL & CO., AND W. GREGGS. The 
 specialities published tiy these firms, can he readily supplied by Messrs. 
 Chapman & Hall. Particulars on application. 
 
 DRAWING IN LIGHT AND SHADE. 
 
 SHADED DRAWING CARDS. For the Elementary Stage of Shading from 
 Casts of Ornaments, for the use of Elementary Teachers, Pupil Teachers, 
 Students of Schools of Art, Art Classes, and Training Colleges. By Jno. 
 E. Cheese, A.C.T. 6 cards, 3s. 
 
12 
 
 LIST OF FURNITURE, MODELS, 
 
 PHOTOGRAPHS 
 
 SELECTED FEOM THE COLLECTIONS OF ANTIQUITIES IN 
 
 
 
 THE 
 
 BRITISH MUSEUM. 
 
 
 
 £ 
 
 s. 
 
 d. 
 
 Prehistoric 
 
 2G 
 
 1 . , f (unmounted, and I . 
 
 subjects sheets) f 
 
 Portfolio net 
 
 ; 2 
 
 12 
 
 6 
 
 ?? 
 
 10 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 Egyptian 
 
 31 
 
 99 
 
 99 
 
 
 99 
 
 3 
 
 0 
 
 0 
 
 10 
 
 
 99 
 
 99 
 
 
 1 
 
 0 
 
 0 
 
 Assyrian 
 
 20 
 
 99 
 
 9, 
 
 99 
 
 99 
 
 2 
 
 0 
 
 0 
 
 „ other 20 
 
 
 5, 
 
 J9 
 
 99 
 
 2 
 
 0 
 
 0 
 
 • • • 
 
 10 
 
 99 
 
 
 
 99 
 
 1 
 
 0 
 
 0 
 
 Greek 
 
 24 
 
 99 
 
 99 
 
 
 99 
 
 2 
 
 6 
 
 0 
 
 other 24: 
 
 99 
 
 99 
 
 99 
 
 
 2 
 
 6 
 
 0 
 
 „ 
 
 10 
 
 
 *•9 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 Etruscan 
 
 4 
 
 
 99 
 
 99 
 
 99 
 
 0 
 
 10 
 
 0 
 
 Roman 
 
 21 
 
 
 99 
 
 
 99 
 
 2 
 
 0 
 
 0 
 
 ?? • • • 
 
 21 
 
 
 99 
 
 99 
 
 99 
 
 2 
 
 0 
 
 0 
 
 Selected Greek 
 
 
 
 
 
 
 
 
 
 and Roman ... 
 
 30 
 
 99 
 
 99 
 
 99 
 
 99 
 
 3 
 
 0 
 
 0 
 
 ,, 
 
 10 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 The Parthenon 
 
 10 
 
 99 
 
 
 
 99 
 
 1 
 
 0 
 
 0 
 
 Raphael 
 
 14 
 
 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 
 (3 in carbon) 
 
 
 
 
 
 
 
 Fra Angelico ... 
 
 8 
 
 99 
 
 
 
 99 
 
 0 
 
 10 
 
 0 
 
 Perugino 
 
 15 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 Michael Angelo 
 
 16 
 
 
 
 
 
 1 
 
 0 
 
 0 
 
 Luini 
 
 16 
 
 
 99 
 
 99 
 
 
 1 
 
 0 
 
 0 
 
 Leonardo 
 
 7 
 
 99 
 
 
 99 
 
 
 0 
 
 10 
 
 0 
 
 Correggio 
 
 15 
 
 99 
 
 99 
 
 99 
 
 
 1 
 
 0 
 
 0 
 
 
 (1 in carbon) 
 
 
 
 
 
 
 
 Botticelli 
 
 14 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 
 (2 in carbon) 
 
 
 
 
 
 
 
 Bellini 
 
 13 
 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 
 (4 in carbon) 
 
 
 
 
 
 
 
 Titian 
 
 13 
 
 99 
 
 
 ,, 
 
 99 
 
 1 
 
 0 
 
 0 
 
 
 (3 in carbon) 
 
 
 
 
 
 
 
 Luca della Rohia 
 
 18 
 
 99 
 
 99 
 
 99 
 
 5, 
 
 1 
 
 0 
 
 0 
 
 ?? ... 
 
 18 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 National Gallery 
 
 r 24 
 
 99 
 
 99 
 
 99 
 
 99 
 
 3 
 
 0 
 
 0 
 
 
 (carbon) 
 
 
 
 
 
 
 
 Italian Schools i 
 
 [ 8 
 
 
 . 59 
 
 99 
 
 
 1 
 
 0 
 
 0 
 
 Louvre and I 
 
 1 20 
 
 99 
 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 Luxembourg | 
 
 1 10 
 
 
 
 99 
 
 99 
 
 0 
 
 10 
 
 0 
 
 Versailles 
 
 9 
 
 99 
 
 99 
 
 99 
 
 99 
 
 0 
 
 10 
 
 0 
 
 
 
 
 Views, etc. 
 
 
 
 
 
 
 Athens 
 
 10 
 
 99 
 
 
 
 99 
 
 0 
 
 15 
 
 0 
 
 Holy Land 
 
 14 
 
 99 
 
 99 
 
 
 99 
 
 1 
 
 0 
 
 0 
 
 99 ... 
 
 14 
 
 
 ,, 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 99 • • • 
 
 14 
 
 99 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 „ larger U 
 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 Egypt 
 
 20 
 
 
 99 
 
 99 
 
 99 
 
 1 
 
 0 
 
 0 
 
 English Cathedrals 20 
 
 99 
 
 99 
 
 99 
 
 
 1 
 
 0 
 
 0 
 
 Note. — One exterior and one interior view will, ordinarily, go to each 
 Cathedral. 
 
BOOKS, APPARATUS, ETC, 
 
 13 
 
 DRAWING SPECIALITIES 
 
 OF 
 
 JACKSON BROS., Ltd. 
 
 Agents : CHAPMAN & HALL, London, who will supply 
 schools and public bodies on manufacturers’ terms 
 
 THE “TECHNICAL SCHOOL" SERIES, 
 
 ETC. 
 
 SPECIALLY SELECTED SETS OF 
 
 DRAWING INSTRUMENTS 
 
 In Leather Pocket Cases, etc. 
 
 The lustrumeuts, a small selection of which is entered below, are of 
 guaranteed quality and durability, and are nicely finished. Messes. Jackson 
 Bros.’ Compasses are all steel-jointed throughout, and the Pencil-holders are 
 
 made to take solid leads, thus avoiding the trouble of cutting down the wood of 
 
 an ordinary pencil to fit. 
 
 
 
 
 
 d. 
 
 Mathematical Instruments 
 
 
 net 
 
 0 
 
 8 
 
 0 
 
 95 
 
 59 
 
 
 99 
 
 0 
 
 12 
 
 0 
 
 
 
 
 99 
 
 1 
 
 0 
 
 0 
 
 99 
 
 99 
 
 The Science and Art Case 
 
 
 0 
 
 5 
 
 0 
 
 99 
 
 
 The Technical School Case 
 
 9*' 
 
 0 
 
 7 
 
 c 
 
 
 
 The New Polytechnic Case 
 
 99 
 
 0 
 
 12 
 
 G 
 
 
 *9 
 
 The New Pattern Technical School 
 
 
 
 
 
 
 
 Case 
 
 99 
 
 1 
 
 0 
 
 0 
 
 
 99 
 
 The Engineer’s Set; New Pattern ... 
 
 99 
 
 1 
 
 10 
 
 0 
 
 99 
 
 99 
 
 The Draughtsman’s Case . . 
 
 99 
 
 1 
 
 17 
 
 G 
 
 Every Case is Examined by an Expert before being sent out, and the 
 Manufacturers Guarantee that, in the event of any Drawing-Pen or other 
 Instrument being found unsatisfactorily adjusted when received, they will 
 exchange or reset it (if returned immediately) free of charge. 
 
 K 
 
14 
 
 LIST OF FURNITURE, MODELS, BOOKS, ETC. 
 
 IN' OTICE. 
 
 I^ESSRS. CHAPMAN & HALL, L-ri,., beg to announce that th 
 ^ have undertaken the Sole Agency for the Sale in this Country t 
 Continent, of the TECHNICAL and EDUCATIONi' 
 WORKS and the SCIENTIFIC TEXT-BOOKS of Messes. WILEY 
 ONS, of JvEW. York, the most important publishers of books of tl 
 class m the United States. 
 
 Messrs. WILEY’S PUBLICATIONS deal with- 
 
 Agriculture. 
 
 “"Xfgabo™ ete .ucluding Surveying, Hygie 
 
 Astronomy— Theoretical and Practical. 
 
 Botany. 
 
 Aechitectoee, including Carpentry and Construction in all their Brand 
 
 Chemistry and Assaying. 
 
 Civil Engineering in all Branches. 
 
 Geometry and Mathematics. 
 
 Mechanics. 
 
 ’“’"’’oikDrelsidg^ Ventilation, Tunnelli 
 
 Physics, including Light, Heat, Magnetism, and Electricity. 
 
 Messrs; Chapman & Hall have made arrangements for displav 
 these publications, as well as the Educational Works, Models Diagra 
 etc., which they themselves produce and publish, in connection with t 
 Agency for the Science and Art Department, South Kensington. 
 
 With this object, a large well-lighted ROOM has been fitted up on 
 pound floor, at No. 11, Henrietta Street, Covent Garden, WC w] 
 intending purchasers, including Teachers and Students, are invitee 
 inspect specimens of the various publications referred to above as we 
 the numerous Educational and Scientific Diagrams, Models Casts 
 Apparatuspf all kinds, as sanctioned by the Science and Art Departr 
 01 bouth Kensington. 
 
 FULL DESCRIPTIVE CATALOGUES WILL BE SENT, POST FREE, 
 ON APPLICATION. 
 
 LONDON: CHAPMAN & HALL, Ltd., 
 AGENTS TO THE SCIENCE AND ART DEPARTME 
 
I 
 
 3ry Description of FITTIi 
 TECHNICAL Cl 
 
 utO. M. HAMr 
 
 hool, College, and Ir 
 
 370, STRAND, L 
 
 Crated catalogue of school oi 
 
 WING 
 
 DESKS, 
 
 ELS, 
 
 3KB0ARDS, 
 
 :ls, 
 
 2DLING 
 
 STANDS, 
 
 3, etc. 
 
 CL,A''" MODELL] 
 
 Fstimates given for Co 
 
 RT SCHOOLS, 
 
 TECHNICAL INSTI 
 CHEMICAL 
 PUBI 
 
 PRINTED BY WILLIAM CLOWES AND SC