ed that working
people were not better trained; it was not the working-men's fault, at
bottom. The modern architect used his workman as a mere tool; while the
Gothic spirit set him free as an original designer, to gain--not more
wages and higher social rank, but pleasure and instruction, the true
happiness that lies in good work well done.

To explain the design of the Oxford Museum and to enlist support, he
wrote two letters to Dr. Acland (May 25th, 1858, and January 20th,
1859), which formed part of a small book, reporting its aims and
progress, illustrated with an engraving of one of the workmen's
capitals. Ruskin himself contributed both time and money to the work,
and his assistance was not unrecognised. In 1858 "Honorary Studentships"
(i.e., fellowships) were created at Christ Church by the Commissioners'
ordinances. At the first election held, December 6th, 1858, there were
chosen for the compliment Ruskin, Gladstone, Sir G. Cornewall Lewis, Dr.
(Sir) H.W. Acland, and Sir F.H. Gore Ouseley. At the second, December
15th, 1858, were elected Henry Hallam, the Earl of Stanhope, the Earl of
Elgin, the Marquis of Dalhousie and Viscount Canning.

Parallel with this movement for educating the "working-class," there was
the scheme for the improvement of middle-class education, which was then
going on at Oxford--the beginning of University Extension--supported by
the Rev. F. Temple (later Archbishop of Canterbury), and Mr. (afterwards
Sir) Thomas Dyke Acland. Ruskin was heartily for them; and in a letter
on the subject, he tried to show how the teaching of Art might be made
to work in with the scheme. He did not think that in this plan, any more
than at the Working Men's College, there need be an attempt to teach
drawing with a view to forming artists; but there were three objects
they might hold in view: the first, to give every student the advantage
of the happiness and knowledge which the study of Art conveys; the next,
to enforce some knowledge of Art amongst those who were likely to become
patrons or critics; and the last, _to leave no Giotto lost among hill
shepherds._

CHAPTER X

"MODERN PAINTERS" CONCLUDED (1838-1860)

Oxford and old friends did not monopolise Ruskin's attention: he was
soon seen at Cambridge--on the same platform with Richard Redgrave,
R.A., the representative of Academicism and officialism--at the opening
of the School of Art for workmen on October 29th, 1858. His Inaugural
Address