be set to make up between them any certain object, as a church chest, each one having a panel or other portion to complete: one or more smiths at the same time making the hinges and locks. It would also be a part of the plan, as in the schools of design, to have a yearly exhibition of the works completed; and at the end of such exhibition, these works to be disposed of and the money equally divided among the students, according to each one's share in the labour. A great advantage would obviously arise from such an arrangement, as the artist-workman would never feel as if spending his time in mere learning, each step taken being not only a step forward in knowledge, but like his necessary daily labour, profitable. It is also contemplated, as a part of the proposed plan, to commence the formation of a collection of casts, from the finest examples of decorative sculpture remaining to us―untouched by the destroying hand of Restoration and thus to have always at hand, the means of testing the worth of the work done, both in the school and out of it, as well as in addition the obvious advantage of having such a collection as subjects for study. For this purpose, the school would be open free to all students when the collection became sufficiently large-they would probably find such study more profitable than turning over the leaves of the many volumes professing to illustrate the remains of the middle ages. ་་ As one means of raising the character of art in this country, a school for artist-workmen would seem to be singularly well fitted, as nothing can have a more direct tendency to refine the taste of the public, as fine and artistic workmanship, always the most attractive parts, to them, of all works of art; and common attention being thus powerfully called to the decorative merits of any work, the mind would be imperceptibly led to the other portions in search of equal refinement. An obvious advantage would follow to the architect from the establishment of such a school, as being a place from which intelligent and skilled artist-workmen could always be got when required. It would be equally advantageous to the workman himself, he being at all times sure of hearing of employment whenever it offered itself. It will moreover tend perhaps in a greater degree than any other plan yet devised to raise the character of labour; for while the workman continues unable to accomplish higher work than the steam-engine or the horse, he cannot expect to be otherwise than on their level. But, if he acquire skill and taste to produce finer results than they, his labour will then be worthy of, and will obtain a higher remuneration. "By joining such a school as the one now proposed to him, the intelligent workman would have an opportunity of improving his mind, and raising himself in a way not hitherto offered to him. To the young workman, and the sons of workmen especially, it presents the means of mental culture in the most direct and easiest way; every step forward being one of certainty, and having a definite and useful object, viz. that of improving the quality of his labour, and thus driving him, as it were, to increased exertion and thought. He would be quite sure, that every fresh accession of knowledge and skill he acquired would tell and must benefit him; thus contrasting favourably with the instruc tions given by Schools of Design, where, supposing he becomes a proficient, the knowledge he acquires (of skill in his daily calling he of course acquires in addition nothing) may not, and in the majority of cases does not, and cannot, be of any practical use to him. If he be a young man and learning his trade (and for such the school is especially suited) all he does while at the school would be so much in addition to his daily work, with the further and very important advantage, besides helping him in that work, of teaching him to work according to fixed principles. Although, as has been said, this school is intended more particularly for the instruction and improvement of those who are apprenticed, or are about to be apprenticed, to any trade in which Art enters, as to a stone mason or wood carver, (indeed, it may be regarded as a sort of test by which it may be proved to what degree the working classes of this country, would be likely to respond to any system of instruction held out to them by the Government or otherwise,) it is obviously as well suited to those who are more or less in doubt as to the precise trade they are to follow, and who feel compelled to pause before adding another name to the long and unemployed list of clerks, draughtsmen, and designers, for whom there is not and cannot be steady employment, or even to those who more ambitiously inclined, are yearly apprenticed to architects, sculptors, and painters, and for whom also there is not, and cannot be, sufficient employment, (the number of professors decreasing as Art rises.) To many such a school of Art, established as this is proposed to be for purposes to which Ghiberti, or Gibbons were proud to put forth all their strength, would appear to present a fair opportunity for learning what must eventually procure for the man honourable means of living. Indeed, there cannot be a doubt that students thus educated to carry out designs in an artistic manner, would rapidly find full and lucrative employment in all those trades and professions where Art enters, as the professors in all such departments, and the public who support them, would soon discover the difference between the workmanship of the mere workman -and the workmanship of the artist-workman, they would soon discover, that to raise the character of Art, the WORKMAN must be made, not a designer, or a draughtsman, or a modeller, all either impossible or useless, but an artist-workman. It is proposed to have both morning and evening classes: the latter from seven to ten o'clock every day in the week. “A uniform rate, as low as will cover the expenses, has been fixed on, and will be found to be within the means of all steady and industrious workmen. "One evening in every month will be set apart for a lecture, having for its object the exemplification of some subject connected with the Fine Arts, or with the well being of the workman. "The school will open as soon as fifty students shall have entered their names as intending to join. "C. BRUCE ALLEN, Architect Director. "PLAN OF THE SCHOOL. Architecture is, as has been well observed, if not the first, the foundation of all the other Arts. Painting to be delightful necessitates that some fitting place be provided for its reception, and for its highest efforts it must form part of the place where it is; and so of sculpture even in a greater degree. Architecture being thus as it were the beginning of the Fine Arts, it has been thought advisable at first to restrict the operations of the school to those trades which have especial reference to it. The course of instruction therefore, will at first be confined to the following trades :— Stone Masons. Under this head is included all workmen who carve in marble and stone, and of whatever description that carving may be, whether the figure, animals, foliage, architectural details, or otherwise. Modellers do not come under this head, except in those cases where the drawing given by the artist is of so simple a character, as a dog's-tooth, or the drawing so complete, as to leave nothing whatever for the workman to do by himself, for this would necessitate his being a designer-an artist; he would then be beyond and would leave the workman's school for the artist's academy. The modelling of the figure, all animals, and foliage, would appear to be the work of the artist, and by not recognising it as within the reach of a workman, much good is likely to accrue to the artist by a thus formal and public admission of it. "Wood Carvers. Including as in the case of stone masons, all those who carve the figure, animals, foliage, or architectural detail, always supposing them to be provided with models. "Metal Workers. Including blacksmiths, or those who work in wrought iron, a beautiful art almost lost. The iron work in S. Paul's is a model in this respect, and evidences what the workman may do. Gold and silver smiths' work, offering a wide field for improvement as may be seen by comparing the race cups, &c. of to-day with the sacramental cups of the dark ages, when universal ignorance is supposed to have prevailed. Under this head is also included metal moulders. "Decorative Painters. An obvious want, now that decoration has become an Art, and in such universal request. Tribes of foreigners have made a living here, working on the very narrowest precedent. It would be the object of this school to teach the intelligent English workman to do the same, and a great deal more, by placing before him the best examples, not from Rome only, but from other countries.” " THE HYMNAL NOTED. AND how do you like the Hymnal Noted ?" “Oh, very much -just the thing we wanted-the old words and the old tunesvery useful work indeed." "Well; and do you find what we say to be true, that the old melodies are popular ?-do your choir like them ?" "My choir! why-hum-why, the fact is, just at present, you see, that we sing the metrical Psalms." Sing the metrical Psalms! why, you said that you liked the Hymnal!" "And so I do; but it is a strange style of music at first-I think my people would be frightened -I hope, by degrees, &c., &c.-when the present storm is over, &c., &c., &c.—we must go gently to work, &c., &c., &c., &c." 66 Such is the style of reply which we have received, times innumerable, to the question with which we commenced. If we come from conversations to letters, the following is of a description of which our secretaries have received a great many : ་ DEAR SIR,-I am about to publish a selection of hymns for the use of my congregation, in which it is my wish to unite Apostolical truth with Evangelical fervour. Some of those published in the Hymnal Noted' appear to me admirably calculated for my purpose; and if you will allow me to avail myself of them, I shall feel much indebted to you. I remain, &c., Rector of From such conversations and such letters, one or two things become very evident. It is clear that the English Church is very anxious to possess a Hymnal,—that even the old school of Priests are becoming ashamed of Tate and Brady,- and that it is seen how unfit anthems are for parish churches and illiterate congregations. It is clear, secondly, that this move is also in the right direction; people theoretically wish for the old hymns, though they are rather afraid of them. It is clear, thirdly, that when the old hymns and the old melodies are laid before them, the greater part of Churchmen start back in alarm,—the thing looks so odd-it is so different from everything they have been accustomed to, and so forth. On the other hand, we have received testimonies to the Hymnal Noted, which of themselves would encourage us to persevere, were we not sufficiently encouraged by the knowledge that our principle is the right one, and the only right one. Not the least curious feature in the case is the popularity they have obtained among Dissenters. We say again, that no private opinion, no combination of opinions, nothing less than the formal repudiation of our principle by a National Synod, will induce us to give it up, or to desist from acting upon it. That principle, we need scarcely repeat, is, that to the ancient hymns of the English Church alone has the English Churchman any right. The reformers wished to translate them, but confessed themselves unequal to the task. Cranmer, in particular, (to whom we refer as an argumentum ad hominem,) expressed his wish that others might arise to effect that which, in this respect, he left unperformed. And it would seem natural that the translation should be plain and simple, and as nearly in the language of the Prayer-Book as possible. Now at this point the Ecclesiological Society steps forward, and says-If you agree to these principles, (as many profess to do,) here is a Hymnal framed upon them. We have done our best. We do not pretend that this best is perfect, but it is the only hymnbook based on a true and intelligible principle; and, as such, we say that English Churchmen ought to try it before they reject it. And this is more particularly true of those who turn away from our Hymnal, as a whole, though ready enough to adopt it in parts; and who, without any regard to the ancient melodies, would substitute other translations where they think ours less happy. Hence the efforts making in various quarters to make other hymnals, by men who would work with us, and to greater profit for the Church, had they taken our view of this duty of working upon the old foundations. We call upon all such persons all to consider well whether a united effort for the great end we alike have in view, and a cordial reception of the principle herein so warmly advocated, is not likely, in the end, to lead to more happy results, than a multiplication of hymnals, each made according to private fancies, and mutually interfering with the general adoption of any common use? We might take a parallel case as regards ourselves. Noble work as is Mr. Helmore's Psalter Noted, no one will call it perfect; least of all, we are sure, would its arranger. Again, there are many of its details on which it is quite allowable to entertain various opinions. Some may wish that all the Psalms of one morning or evening had been set to the same tone; others that the tone had been oftener altered. Some may wish for a greater, others for a less, tendency to syllabism; some may think the compiler right, others wrong, in his arrangement of the sixth tone. But what if we, in the hopes of producing a more perfect book, had come forward with another Psalter? We say nothing of the unfairness to those interested in the former work; but should we not have injured, perhaps irreparably, the cause of Gregorianism in our Church? One objection which some have urged, we feel very strongly to be an entire prejudgment of the Hymnal Noted, without a trial; it is the alleged obscurity of some of the translations. Now, were it possible to place ourselves in the position of those who for the first time looked into the English Book of Common Prayer, or the English Bible itself, we believe that the very same objection would be started; it is a difficulty as inherent in the originals as in the translations. Take, for example, the following verse: "Yea, angels tremble when they see How changed is our humanity: That flesh hath purged what flesh had stained, |