DESIGN, Ne nom.: or. In ancient times every master of an art or artistic industry 11:11111 1:: impart the seer•ts of his craft to a number of pupils. '1% hi. in return at hint such help as they could. working upon his master pieces and learning by practice. tonlor his super vision. his particular method: a' well as the established of the craft. In the die Age- this system of teaching was highly de veloped by the guilds. which controlled all the art• particularly in Florence and North Italy. in I fermany and Flamhbrs, and to a considerable extent also in France and England. The governing council, of these regulated the terms of apprenticeship and the course of instruction, prescribed the tests for promotion from one grade to another, and instituted prize compet it 0o st imulate profteieney.
The Italian Ilenaissance, however. brought about a return from corporate to individual teaching. The guilds lost their controlling in fluence beeanse of the personal preiMiinence of great artists like Perugino. Raphael, 1)a Vinci. and 'Nlielielangelo. These attracted group: of apprentice artist•. who became their ardent dis ciples and imitator-. reproducing often for a while not only the general style. but even the tricks and mannerisms of their masters. The term schools applied to these personal or local and groups (School of Raphael. Vene tian Sehooll doe: not designate organized insti at all.
The teaching of design by systematic instruction in organized schools is a comparatively modern idea. 111 the medifeval guilds, though the in struction systematic in ti measure, it wa: not given 111 schools Or classes by specially ap pointed teachers. The first school of design to embody the new conception was the Royal \cad emy of Fine .1rts, founded in 101'1, in the reign of Louis XIV.. in Paris. In this famous school, which has been in operation ever since, five departments were estaldistied—those of painting, sculpture, architecture, engraving, and the elating of gem, and metals in which in struction given by regularly appointed pr• and protieiency encouraged by an elabo rate system of culminating in the (rand Prize of Rome in each department. See Ecol.F:
ors Br In this ....Moot, to which l'ranee owes the train ing of many of her most illustrimi: artist:, Pie first step was taken toward a scientific system of t•aeliing design, by analyzing the training required into its essential element:, and teaching tli. se separately by lectures and elas:-work, with test examination:. Composition and the theory of design, the history of art. perspective, Cos thine, and classical arelreologys and in archi• texture the orders and line element: of constrile lice are the chief of this teach ' The actual studio work has, however, from the first been conducted largely on the tradi tional lines of the apprenticeship system; and this is true of most of the schools of design. both European and Ameriean. A few have, on the other hand, endeavored to carry the scientific organization of the instruction into their studio work. as in the teaching of decorative design in the South Kensington Schools (see SOUTH KExstNoToN, Ara SenooLs or), and like insti in England, and in the American schools of architecture.
Since the middle of the nineteenth century the number of schools of design has greatly in creased in Europe. and in the United since 1576: in both eases this has been largely due to the stimulus of international exhibitions. Those of IS51 and in London, and IS55 in Paris, opened the eyes of the English to the superiority of the French art industries, and led to the establishment of the South Kensington Museum and Schools of Art, and of of provincial schools for the training of skilled designers of textiles, ceramic wares, and other products of industry. Stimulated by the success of the Brit ish experiment, the various German States, the French Government, and many municipalities in both these countries, opened schools of design in the chief industrials centres. The marked feature of this movement, following the British precedent. was the recognition of the educational value of museums of industrial art.