ACADEMY, ROYAL. The Royal Academy of Arts in Lon don, to give it the original title in full, was founded in 1768, "for the purpose of cultivating and improving the arts of painting, sculpture and architecture." It was the outcome of many attempts which had previously been made in England to form a society which should have for its object the advancement of the fine arts. No time was lost in establishing the schools, and on Jan. 2, 176o, they were opened at some rooms in Pall Mall, a little eastward of the site now occupied by the Junior United Service club, the president, Sir Joshua Reynolds, delivering on that occa sion the first of his famous "Discourses." The opening of the first exhibition at the same place followed on April 26.
The government of the Academy was by the "Instrument" vested in "a president and eight other persons, who shall form a council." Four of these were to retire every year, and the scats were to go by rotation to every Academician. The number was in creased in 2870 to 12, and reduced to ten in 1875. The rules as to retirement and rotation are still in force. Newly elected Academicians begin their two years' service as soon as they have received their diploma. The council has, to quote the "Instru ment," "the entire direction and management of the business" of the Academy in all its branches, and also the framing of new laws and regulations ; but the latter, before coming into force, must be sanctioned by the general assembly of Academicians and approved by the sovereign. The original number of Academicians was fixed in the "Instrument" at 4o, and has so remained. Each Academician on his election has to present an approved specimen of his work— called his diploma work—before his diploma is submitted to the sovereign for signature. On receiving his diploma he signs the Roll of Institution as an Academician, and takes his seat in the general assembly. The class of Associates, out of whom alone the Academicians can be elected, was founded in 1769.
One of the most important functions of the Royal Academy, and one which for nearly a century it discharged alone was the instruction of students in art. The first act, as has been shown, of the newly founded Academy was to establish schools—"an Antique Academy," and a "School for the Living Model" for painters, sculptors and architects. A school of painting was added in 1815, and special schools of sculpture and architecture in 1871. The schools consist of an antique school, a school of painting, a school of drawing from the life, a school of modelling from the life and an architectural school. Admission is gained by submitting specimens of drawing or modelling, and the successful candidates, called probationers, have then to undergo a further test in the schools, on passing which they are admitted as students for five years. Female students were first admitted in 186o. There are permanent curators and teachers in all the schools, but the prin cipal teaching is done by the keeper and visitors—Academicians and Associates—elected to serve in each school.
Another of the principal objects to which the profits of the Royal Academy have been devoted has been the relief of distressed artists and their families.
The source from which have been derived the funds for carrying on the varied work of the Royal Academy, its schools, its charities and general cost of administration, and which has enabled it to spend large sums on building, and provided it with the means of maintaining the buildings, has been the annual exhibitions. There is an annual winter exhibition of works by old masters and de ceased British artists, and a summer exhibition of works by living artists.
The Library of about II ,000 volumes, some of them of great rarity and value, is open daily to the students and members, and to others on introduction.
The trust funds administered by the Royal Academy include the following : The Turner fund, the Creswick fund, the Landseer fund, the Armitage fund, the Leighton bequest and the Edward Stott fund.
Bibliography. The literature concerning the Royal Academy con sists chiefly of pamphlets and articles of more or less ephemeral value. More serious works are: William Sandby, The History of the Royal Academy of Arts (1862) (withdrawn from circulation on a question of copyright) ; Report from the Select Committee on Arts and their Connection with Manufactures, with the Minutes of Evidence and Appendix (5836) ; Report of the Royal Commission on the Royal Academy, with Minutes of Evidence and Appendix (1863) ; Martin Archer Shee, The Life of Sir M. A. Shee, P.R.A. (1860 ; C. R. Leslie, R.A., and Tom Taylor, Life and Times of Sir Joshua Reynolds, P.R.A. (1865) ; J. E. Hodgson, R.A., and F. A. Eaton, Sec. R.A., The Royal Academy and its Members, 1768-1830 (19o5). But the chief sources of information on the subject are the minute-books of the council and of the general assembly, and the annual reports, which, however, only date from 1859. (F. A. E.; W. R. M. L.)