DESIGN, Schools schools in which art is taught with an industrial application in view rather than a purely esthetic end. Theoretically such schools may be considered as intermediate between schools of technology, in which (with the exception of the architectural courses) de signing is of a purely mechanical nature and application, and schools for the training of artists; yet in actual practice this distinction is not always followed. The best results in ap plied art are produced by foundation work sim ilar to that essential in preparation for a distinc tively aesthetic career. The courses in such schools vary in detail but generally include most of the following branches: free-hand draw ing; the theoretical principles of decoration, and the history of art — especially in its decorative aspects; copying and variation of designs; orig inal designing for textile fabrics, wall-paper, stained-glass, pottery, leather-work, book-covers, etc.; and the study of the best examples of de signing— for which accessible museum collec tions are essential. To this is added instruction in technical manipulation.
The definite endeavor to promote art educa tion with the purpose of developing and improv ing the art industries of the nation.had its rise in England as a result of the first international exhibition, that of 1851, at Hyde Park, London. In the United States a similar movement origi nated in Boston in 1870, and was an outcome of the former. The related branches of indus trial art drawing and manual training owed much to the impetus given by the Centennial Exhibition of 1876. The new spirit was felt by the public schools and wrought marked changes in them during the next quarter of a century, and museums of art were created and developed. Aiming the institutions offering
courses in applied art in the United States, may be mentioned the schools of Cooper Union; the Lowell Free School of Industrial Design (1872), affiliated with the Massachusetts Institute of Technology ; the School of Design for Women in Philadelphia; the School of Design of the University of Cincinnati; and the University of Minnesota, which has a four years' course in drawing and industrial art. The large cities of Europe were provided with facilities for teaching industrial art long before such a ne cessity was apparent in Great Britain and the United States. In Paris the Ecole Nationale et Spiciale des Arts Decoratifs, in Berlin the Bau Akademie and in Vienna the Imperial Art Insti tute, may be especially noted. The great schools devoted to the training of artists created the atmosphere and impulse without which the more practical schools would be impossible, but they hardly come within the scope of this review. Among the results produced in Great Britain by the recognition in 1851, of the superiority of France in the arts of applied design, was the creation of the South Kensington schools and Museum of Art, which have been in fac tors in effecting the great change n that nation. Consult Miinsterberg, 'The Principles of Art Education> (New York 1904) i and Adams, 'Theory and Practice in Designing) (New York 1911).