h pen and ink showed us how Rembrandt would have
etched, and Albert Duerer engraved it. This at once explained to us the
different ideas and methods of the two masters. On another evening he
would take a subject from Turner's 'Liber Studiorum,' and with a large
sheet of paper and some charcoal, gradually block in the subject,
explaining at the same time the value and effect of the lines and
masses."

And for sketching from nature he would take his class out into the
country, and wind up with tea and talk. "It was a treat to hear and see
him with his men," writes Dr. Furnivall.

His object in the work, as he said before the Royal Commission on
National Institutions, was _not to make artists_, but to make the
workmen better men, to develop their powers and feelings,--to educate
them, in short. He always has urged young people intending to study art
as a profession to enter the Academy Schools, as Turner and the
Pre-Raphaelites did, or to take up whatever other serious course of
practical discipline was open to them. But he held very strongly that
everybody could learn drawing, that their eyes could be brightened and
their hands steadied, and that they could be taught to appreciate the
great works of nature and of art, without wanting to make pictures or to
exhibit and sell them.

It was with this intention that he wrote the "Elements of Drawing" in
1856, supplemented by the "Elements of Perspective" in 1859; the
illustrations for the book were characteristic sketches by the author,
beautifully cut by his pupil, W.H. Hooper, who was one of a band of
engravers and copyists formed by these classes at the Working Men's
College. In spite of the intention not to make artists by his teaching,
Ruskin could not prevent some of his pupils from taking up art as a
profession; and those who did so became, in their way, first-rate men.
George Allen as a mezzotint engraver, Arthur Burgess as a draughtsman
and wood-cutter, John Bunney as a painter of architectural detail, W.
Jeffery as an artistic photographer, E. Cooke as a teacher, William Ward
as a facsimile copyist, have all done work whose value deserves
acknowledgment, all the more because it was not aimed at popular effect,
but at the severe standard of the greater schools. But these men were
only the side issue of the Working Men's College enterprise. Its real
result was in the proof that the labouring classes could be interested
in Art; and that the capacity shown by the Goth