138. _Professor Faraday._ You said some time ago that in your own attempts to instruct the public there had not been time yet to see whether the course taken had produced improvement or not. You see no signs at all which lead you to suppose that it will not produce the improvement which you desire?--Far from it--I understood the Dean of St. Paul's to ask me whether any general effect had been produced upon the minds of the public. I have only been teaching a class of about forty workmen for a couple of years, after their work--they not always attending--and that forty being composed of people passing away and coming again; and I do not know what they are now doing; I only see a gradual succession of men in my own class. I rather take them in an elementary class, and pass them to a master in a higher class. But I have the greatest delight in the progress which these men have made, so far as I have seen it; and I have not the least doubt that great things will be done with respect to them. _Chairman._ Will you state precisely what position you hold?--I am master of the Elementary and Landscape School of Drawing at the Working Men's College in Great Ormond Street. My efforts are directed not to making a carpenter an artist, but to making him happier as a carpenter. NOTE.--The following analysis of the above evidence was given in the Index to the Report (p. 184).--ED. 114-5-6. Sculpture and painting should be combined under same roof, not in same room.--Sculpture disciplines the eye to appreciate painting.--But, if in same room, disturbs the mind.--Tribune at Florence arranged too much for show--Sculpture not to be regarded as _decorative_ of a room.--National Gallery should include works of all kinds of art _of all ages_, arranged chronologically (_cf._ 132). Mediaeval sculpture should go with painting, if it is found impossible to combine art of all ages. 117-8. Pictures should be protected by glass in every case. It makes them more beautiful, independently of the preservation,--Glass is not merely expedient, but essential.--Pictures are permanently injured by dirt. 119-20-21. First-rate large pictures should have a room to themselves, and a gallery round them.--Pictures must be hung on a line with the eye.--In one, or at most two, lines.--In the Salon Carre at the Louvre the effect is magnificent, but details of pictures cannot be seen. 122. Galleries should be decorated not splendidly, but pleasantly. 123. Great importance of chronological arrangement. Art the truest history (_cf._ 125 and 132). 124. Best works of inferior artists to be secured. 125. All the works of a painter, however incongruous their subjects, to be exhibited in juxtaposition. 126. Love of detail in pictures among workmen.--Great refinement of their perceptions. 127. Accessibility of new National Gallery.