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children, have amused themselves in gather ing flowers and arranging them in such groups, contrasting colours according to their law, so as to enable their parent to Work them into the loom from nature. I certainly think that not only our manufacturing artists, but the nation generally, is deficient in the true principles of drawing, and therefore not sufficiently able either to create or understand works of art so highly as it might by education be enabled to create and understand. In the first instance. drawing is taught upon erroneous principles, art being applied in an ideal instead of a useful form. For instance, landscape, which is ideal art, is taught before the mind is correctly imbued with the first principles of outline, light and shadow; and colour, which should be studied from individual objects before drawing, is carried into the more complicated branch of art.

Mr. James Nasmyth, Manufacturing Engineer, of Manchester, examined.

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of about a third to be effected by an improvement of form-by a change in the disposition of the material, which in the majority of instances is reconcileable with increased elegance of appearance. With respect to the framework of machinery, being engaged in the manufacture of machines for planing iron, I have found that by the adoption of the parabolic curve in one part of the machine, which has to resist the entire force employed, a saving of at least one-third of the materials was effected, and a much more elegant form given to the design. A certain proportion of mathematical knowledge would be requisite, in order to the correct application of those beautiful forms to practical machinery; but this knowledge is obtained in a natural manner by the mechanic, while engaged im his daily occupation. I refer chiefly to mechanics connected with machinery, all of whose daily occupations are more or less intimately connected with mathematical science called geometry. I may just make a remark; I have always found, from my own experience, that mechanics engaged in these matters possess a very considerable portion of geometrical knowledge, without any tuition at all; it is a commonsense mathematics they pick up themselves, so that mechanics who have never studied it as a science are found quite fit to receive ideas of the most refined kind, because their daily occupation bears so closely on the most abstruse points; they are in a manner just "brought up to that point, that a little further information on the subject would give a very material impulse, both as regards the elegance of the design and the prosecution of science itself. I have all my life been in companionable contact with the working mechanic, and being moreover the son of an artist of some celebrity, I have, in the union of those two advantages, been enabled to see the intimate connexion that exists between the arts of design and practical mechanics, the result of which has impressed me with a feeling, that all that is now wanted to bring about the most happy connexion between the two in the person of the working mechanic, is to give him those facilities in improving his taste in the arts of designing, which will immediately produce an influence on the objects in which he is daily engaged. I would havebesides giving every facility for the extension of mechanics' institutions, which refer to the facilities for the study of the before-mentioned subjects in the after-hours of the mechanic I would encourage, by every possible means, the exhibition of such tasteful works of art, either of modern or ancient design, in some part of the manufactory in which men were daily engaged, that while, in the small portion of leisure time after their meals, they might, instead of loitering about the shop, waiting

'I have turned my attention to the applicaof the arts to manufactures, chiefly with regard to the application in the designing of the framework of machinery, and likewise of buildings employed for manufacturing purposes. In the first place, with regard to machinery, I would show the means of combining the most beautiful forms and most scientific application of the mateemployed in the formation of machinery with the greatest economy. In the majority of instances, the most economical disposition of the materials coincides with such a form as presents the most elegant appearance to eye; this is especially the case where the elliptic or parabolic curves are employed in the form of the parts which connect one part of the machine with the other, so that when viewed as one design it shall present a perfectly graceful form, and at the same time completely attain the object in view. The knowledge of its application is only to be acquired by instruction communicated to the 6 mechanic in the arts of design in connexion with mechanical science. The framework of machinery I think most susceptible of improvement in design. In every machine there are two distinct parts; the one consisting of the framework, which binds together the details of the machine; the other consisting of the details themselves. It is in regard to the framework that the improvement in the art of design would be most applicable, not only in giving elegance of form, but in attaining a very decided economy in the use of the material. In the case of iron beams and columns being employed for architectural purposes, as a substitute for wood and stone, a system which is now becoming almost general in its adoption, I have known a saving

for the recommencement of the hour of labour, engage their attention usefully in considering and discussing the merits of such objects, selected from ancient and modern examples, as would materially tend to increase their taste. I would place before them such a selection from the works of the ancients as exhibits, in the most perfect manner, the entire reconcileability of elegance of form with bare utility, as exemplified in the numerous instances, from the most refined works of antique designing, down to the most common domestic utensils or implements, copies of which could be obtained at a very low rate, so as to make them become as familiar to the eyes of the mechanic as the walls of the building itself. I would say, in order that the master mechanic, supposing his mind has arrived at a great state of cultivation, as regards a taste for the fine arts, in reference to its application to manufacturing purposes, requires, in order to bring forward those acquirements into actual existence, to employ agents, those agents are his workmen; and if there exists, at there does at present, too great a disparity between the taste of the -master and that of the man, there is such a difference between the ideas of the two, that in many cases the forms which he wishes his workmen to adopt are not those produced by the workman, which leads to a very serious inconvenience and frequent disappointment, occasioning in any attempt at introducing elegance of form, a very great loss of time to the master in giving necessary instructions to his men. In the majority of cases, the most elegant forms of the Etruscan urns can be shown to be derived from the employment of the geometric figure called the ellipsis, placed in different directions; in which case it is shown that, by the study of one simple geometrical form, we are enabled to produce an infinity of elegant forms; and it is to impress such effects on the minds of mechanics that I would recommend the exhibition in the most familiar manner to their eyes, of those remains of antique design which combine in themselves the beforementioned principles. I think that greater correctness and beauty in the exterior of public buildings would have an improving effect on the mind of a mechanic; and a very decided improvement in the taste of those cities would be the consequence, as it is not from the single exhibition of the works of elegant design that taste is so much cultivated, as those larger and more common objects which are seen in manufacturing towns, namely, the chimneys and other conspicuous parts of manufacturing buildings. In manufactories or chimneys, there are many instances already in the town of Manchester, in which it is shown in the same expenditure

of materials, and consequently expense, very different results are produced as concerns elegance of appearance; and I may say, that in the majority of cases with the same expense, forms might be presented which, while they attain the objects for which a building was erected, would present at the same time an appearance not only improving to the public taste, but to that of the town at large. I may say forms are now introducing with respect to steam-engine chimneys in the town of Manchester, which, when contrasted with the forms previously employed for the same purpose, clearly exhibit the growing improvement in public taste with regard to these subjects; and from my own experience, a latent taste exists, which only requires to be excited to make our manufacturing towns, instead of being a reproach to the taste of the country, at once the seat of the most elegant architectural designs and manufacturing industry. There seems to be a want of some system by which these modes of design can be properly systematised and impressed on the minds of the proprietors as well as the mechanics concerned in the above works, and it is only by such improvement of public taste that the wished-for results can be obtained.

Thomas Leverton Donaldson, Esq., Honorary Secretary to the Institute of British Architects, examined.

I have found a deficiency in this country of able workmen, artificers, and superintendents or clerks of the works; and I conceive that no high works of art of the first class can be well executed, however well they may be designed, unless we have competent workmen to carry them into effect. Taking my own profession as the principal point on which I can offer any explanation, I should say that there is not a class of workmen but requires instruction in drawing; that is the basis; both drawing with the freedom of hand, and likewise artificial or scientific drawing. Drawing presupposes a collection of examples which should be very choice, and I do not consider it is necessary for them to be very numerous; such a collection induces a knowledge of good art, and affords the opportunity of drawing and modelling from them. Perspective of course is necessary, because that is nature reduced to rules; Nature herself is subject to certain rules which have been discovered from an examination of nature. Perspective is essentially necessary,

for we find that the Chinese works of art are deficient entirely in either linear or aerial perspective, and from that deficiency fail in producing the effect of which they are otherwise capable, being in many respects distinguished by some of the best principles of art. Geometry, of course, is the foundation of

scientific knowledge, which is necessary for all workmen, as giving them a greater knowledge of form and precision of delineation. I think the progress of art is likely to assist mechanical invention. I find that old machines, when they were originally invented, had not any beauty of form: they were of large proportions; but as they were more studied, they became simplified, and have now acquired greater grace of form from that very simplicity. The steam-engine itself is an illustration of that remark. A general use of iron in making machinery has added very much to the beauty of the steam-engine -it has relieved it from heavy cumbrous proportions. There is probably no example of a perfect machine which is not at the same time beautiful, There are some branches of manufacture in which geology and mineralogy would be extremely desirable, in order to enable a man to avail himself of the riches of the natural productions of that class. In botany, as connected with construction, in order to give a workman an insight into the nature and properties of vegetable substances, and a more accurate knowledge of their forms when he wishes to delineate or model them; all which may be very much derived from a knowledge of their growth and formation; and I should also recommend, that a general idea of chemistry, as connected with construction, should be given, as it may enable a workman very usefully to apply that knowledge in respect of dry rot, and other similar circumstances, such as the various properties of colours, both mineral and vegetable, and their great or less durability, &c. 1 think it very desirable that experiments on the strength of materials should also be made for the instruction of work men, because that is a casual knowledge acquired generally by the experience of many years; whereas, if they were taught this at an earlier period, they would be enabled to avail themselves of that knowledge, and bring it immediately into operation. Experimental knowledge cannot be acquired without many failures, and some severe lessons of grave importance. I include all sorts of wood, stone, metals, cement, and mortars. It would also be very desirable if there were some models of machines and tools. At the same time, I do not think it is desirable they should be very numerous, because they would tend to confuse the mind of the workman. If the best are selected, they would ingraft on their minds similar principles, which they can carry out into practice afterwards. It would be very desirable if there were formed a school in each county, in which the materials of that district should be collected for reference and the instruction of the workmen. I have no doubt but that publications might be used as a means of more rapidly circulat

ing and more extensively encouraging a knowledge of the arts. It is the want of such publications among operatives which has tended to continue the ignorance which already exists. The works of that class in England are very expensive, consequently they have not the means of purchasing them. I have, through the courtesy of Mr. Helder, the Prussian Consul-General, the opportunity of submitting to the Committee a publication of the Prussian Government, which originated with Mr. Beuth, his Prussian Majesty's Privy Councillor and Director to the Institute of Fabrickers and Artificers, and that gentleman supplied those specimens with introductory explanations developing their object; and its title is "Forbilder fur Fabrikanten und Handwerker, herausgegeben von der Konigh, technischen Deputation fur Gewerbe, Berlin, 1821 bis 1830." The work thus published at the expense of the Government is, consequently, not for sale, and the original number of copies has nearly been distributed. This is a work of art; but there is another work devoted to science, published by the Royal Commission of Art and Manufactures, by order of the Minister of Trade, Manufactures, and Architecture, in 1830. The former of these works is divided into three parts: the first contains thirty-nine plates, all illustrative of external and internal architecture as a guide for decorations; the second part contains forty-one plates of vases, tripods, pedestals, cups, and other similar objects; the third part consists of ten plates, for the interior decoration of rooms, including floors, walls, and ceilings. This volume contains the choicest examples of ancient and modern art in their respective classes, not omitting even oriental and moresque. I have no doubt that if such a work were distributed over England, and easy reference could be had to the separate copies, the taste of our manufactures in regard to form would be materially improved. The second work, which is more especially for the use and benefit of architects, has likewise originated with Mr. Beuth, comprising plans of buildings erected in Prussia, entitled "Bau-aus führungen des Preussischen Staats" (Architectural Illustrations, by the Prussian State), issued for the public use by the Minister of the Interior. This work commences with illustrations of the simplest elements of construction and even machinery, and proceeds to give details of every species of edifice, and plans of docks and quays and other similar works. The series now submitted will shortly be followed by a further publication, comprising works of sea-ports, public warehouses, &c. Two other works for the use of carpenters and bricklayers are published for the Sunday Institutes in the Prussian monarchy, the pupils of which

been distributed throughout Europe, and even the United States of America. I conceive such a publication to be useful, not only for the purpose of acquiring information, but in order to instigate a spirit of inquiry, investigation and thoughtfulness in the different classes of persons. The science of construction is most advanced in England. Exterior decorative architecture in France. Interior decoration, I should say, at Milan, of which some beautiful specimens are to be found in the palace of the viceroy, and residences of the Milanese gentry. From the publications which I have seen, my own opinion is, that the finest monuments of modern architecture in Germany exist at Munich and Berlin. I think the school of decoration at Milan is a very good one, having very superior professors. We have no school of a similar class in this country. Aboard a distinct class of well-educated artists, thoroughly versed in the antique, profess this branch; but in England, interior decoration is too generally confided by the employer to the mere housepainter, whose education does not fit him for the occasion. The consequence is, a degraded style of decoration in our interiors, wherever an architect has not been employed. I think that the reason of the superiority of pure taste in French improvements is from its greater appreciation generally by employers, and their yielding to the taste of the architect rather than influencing it. The greater nnmber of our improvements have not that high character of art which they otherwise might have, from employers directing the taste of the architect, and insisting upon his adopting certain styles and forms. In England the inferior intellect directs the superior, and in France the superior the inferior. As an illustration of my observation in England, the introduction of the style of Louis XIV. decorations was against the sense of the profession, and has been forced upon them. I know an eminent artist who complained to me that he was obliged to adopt that style in the finest monument, which, within these few years, has been erected in Europe, in spite of his better judgement and his earnest remonstance. In France, under, the empire, there was not any trinket, jewel or piece of furniture that was prepared for the court, that had not been either designed

or approved by Percier and Fontaine. 4 believe that course is very much pursued now. They were so very jealous that every thing should be in good taste, that they employed a superior man to design and superintend its execution. Works can be executed much cheaper in France than here." am the author of a work on door-ways, entitled "Examples of Door-ways, taken from Ancient and Modern Buildings" When I first had the intention of publishing this work, I submitted my drawing to four eminent engravers in this country, and requested them to furnish me with an estimate for the execu❤ tion of fifty plates; the cost of them was four guineas a plate. As I had no view of profit in the work, and wished to publish it cheap, I found that if I were to pay this price, I should be unable to publish it, except at a very serious loss, not expecting a very large scale. I sent my drawings to Paris, and had estimates from four French engravers. I put the work into the hand of the best of those, a man who is second to none in Europe in his art. I had the plates executed by him. I paid the expense of the carriage of the plates to England, and the duty upon the plates of thirty per cent., incurred various other incidental expenses con neeted with their being executed in Paris and transmitted to England, and the whole cost did not exceed two guineas, or the half of what the English engravers required. I attributed this difference in cost to a less diffusion of the knowledge of art, and this less diffusion of the knowledge of art to a want of facilities of instruction.

(To be continued.)