Art in England Notes and Studies by Dutton Cook EARLY ART SCHOOLS IN ENGLAND. harles the First appears to have been the first English Sovereign who regarded art, not merely as an aid to the splendour of the throne, but for its own sake. As Walpole says, 'Queen Elizabeth was avaricious with pomp, James the First lavish with meanness.' To neither had the position of the painter been a matter of the slightest concern. But from Charles the First dates truly the dawn of a love of art in England, the proper valuing of the artist-mind, and the first introduction into the country of the greatest works of the continental masters. At the present day a complaint is constantly arising, that artists are found to be deficient in general education, while what may be called for distinction's sake the educated classes are singularly wanting in artistic knowledge. The Universities do not teach art; the Art-schools do not teach anything else. As a result, speaking generally, the painters are without mental culture, the patrons are without art-acquirements. (This supposes the patrons to be of the upper classes; but of course at the present time a large share of art-patronage comes from the rich middle or manufacturing classes, whose uninformed tastes are even less likely to tend to the due appraisement and elevation of art.) Mr. Ruskin, giving evidence before the commissioners inquiring into the position of the Royal Academy (1863), says, 'The want of education on the part of the upper classes in art, has been very much at the bottom of the abuses which have crept into all systems of education connected with it. If the upper classes could only be interested in it by being led into it when young, a great improvement might be looked for;' and the witness goes on to urge the expediency of appointing professors of art at the Universities. Upon the question of infusing a lay-element into the Royal Academy by the addition of non-professional academicians, Mr. Ruskin takes occasion to observe: -'I think if you educate our upper classes to take more interest in art, which implies of course to know something about it, they might be most efficient members of the Academy; but if you leave them, as you leave them now, to the education which they get at Oxford and Cambridge, and give them the sort of scorn which all the teaching there tends to give of art and artists, the less they have to do with an Academy of Art the better.' We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.