post of responsibility in the control of national works, or in publishing opinions on matters of Art.
One profit in such easy but sure knowledge would be the discovery of how much solid ground the new attainments covered; but it would also reveal how far beyond their confines imagination is called upon to exercise sway, not alone in the grand conception of a work, but in every passage of its construction, so that they would be superior to the false pretensions of bad workmanship, and at the same time they would be fortified against the destructive teaching now much in vogue in prosaic circles, that the bald imitation of a fact in some favourite manner for the passing time, is all that should be required in a work of Art. I might expand upon the advantage of such training, but having engaged your time so long, I will only add my assurance that such a simple provision by the Universities as that indicated, would impart great vitality to the whole range of English Art Design.
I will end my address by endorsing the axiom that Art must be not only the elegant superfluity of the rich, an exotic nursling. If it is to be a blessing it must be strong and bold, and capable of exalting our daily aspirations, it must offer personal comfort and confidence in moments of anxiety and weakness, it must rejoice with them that do rejoice, and weep with them that weep; it should also fortify the mind for its national duties—exciting endeavour to make the State righteous and gentle; it should illustrate with unflinching truth our Religion, and embody our highest hopes, making us emulators in the competition towards bringing
