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EXPOSITION AT VIENNA.
bank dealings, business correspondence and forms, natural history, and particularly to drawing. A record of attendance is kept and delinquent parents» and employers are lined, and proprietors of large establishments are subject to arrest and imprisonment for persistent neglect in respect to their apprentices and other juvenile operatives.
The special schools are open to artisans, whether apprentices or not, if they want to avail themselves of their help.
The Museum of Arts as applied to Industry, as its name implies, is part of this system of thorough education. To borrow from one of the Museum’s published works :—" The object is to furnish material by which Art-knowledge shall be applied to industry, and thus produce an elevated taste, which is so much to be desired at the present day.”
A brief resume of the growth of this institution may perhaps prove interesting, as Massachusetts is treading in the same path as Austria.
The chief impetus to the formation of the Museum was given by the London Exhibition of 1862. It will be seen, further on, why this Exhibition proved so interesting to the people of Germany, Austria and France. The Exposition of ^851 had agitated the question, but in 1855 the roar of cannon from the Black Sea prevented any active result. In 1862, public attention was again aroused by Professor Rudolph Von Eitelberger, who had been sent to England to report on the comparison of Austrian industry with that of other nations.
He gave a glowing account of Art in foreign lands, and the institutions for its promotion, especially speaking of the South Kensington Museum at London. The report was laid before the Emperor, and in the fall of 1862 the professor was notified to prepare for assisting in establishing a Museum.
The want of funds in the treasury was a great hindrance to doing anything at public expense. Finally, Duke Regnier obtained from the Emperor a formal permission to found an " Aesterreiehischen Museum fiir Kunst und Industry.” His Majesty (Francis Joseph) appointed the Arch-Duke Regnier as Protector of the Museum. Professor Eitelberger was appointed Director, and Herr Jacob Falke, Custodian. The