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* DESIGN. 161 ing. The actual .slmli.) work lias, however, from the lirst been eoiiilucteil largely on the tradi- tional lines of the ap|irentieeship system: and this is true of most of the schools of design, both European and American. A few have, on the other hand, endeavored to carry the scientific or"aiiization of the instruction into their studio ■work, as in the teaching of decorative design in the South Kensington Schools (see South Ke.nsinuto.n, Akt Schools of), and like insti- tutions in England, and in the American schools of architecture. Since the middle of the nineteenth century the number of schools of design has greatly in- creased in Europe, and in tlie United States since 187t); in lioth cases this has been largely due to the stinuilus of international exhibitions. Those of 1851 and ISlri in London, and 1S5.5 in Paris, opened the eyes of the English to the superiority of the French art industries, and led to the establishment of the South Kensington Museum and Schools of Art, and of scores of provincial schools for the training of skilled designers of textiles, ceramic wares, and other products of industry. Stimulated by the success of the Brit- ish experiment, the various German States, the French Government, and many numicipalities in both these countries, opened schools of design in the chief industrial' centres. The marked feature of this movement, following the British precedent, was the recognition of the educational value of museums of industrial art. In the United States the schools of design are, with but few exceptions, independent of munici- pal or State control, being managed by incorpo- rated boards of trustees or influential art so- cieties. Some of the museums of art ai"e main- tained or aided by the city or State: but in general lioth schools and museums have been founded by private munifieence and are main- tained without governmental aid. Besides the leaching in these special schools, drawing and elementary design are also taught in many pub- lie schools of Euroi)e and America, as well as in evening classes conducted by the municipality or by philanthropic societies in the Unite<l States. A broad distinction is generally made between Schools of the Fine .rts, in which painting, sculp- ture, and architecture are taught — sometimes also music and engraving — and 'Schools of Indus- trial Art,' which train their pupils for industrial design and the decorative arts. (See Decorati"E Art.) In some cases the two kinds of training are offered in the same school, but this is rare. Architectural training, moreover, has in the United States been chiefly given in schools at- tached to universities or to technological institu- tions, and has been more thoroughly developed than any other branch of educaticm in design in such schools as that of the Massacliusetts In- stitute of Technologv (ISfiO). Cornell X'niversitv (ISOn). Columbia t'niversity (1881). the Uni- versity of Pennsylvania, and Harvard University. In the modern schools of design free-hand drawing is universally recognized as the founda- tion upon which all the training nuist be based. since it involves the coiirdination of hand and eye. The grammar of design — that is. the theoretic principles of good decoration and the rules which express these — is taught by lectures Or textbooks and enforced by progressive exer- cises in design. Fertility and resource are cul- tivated by the study of the history of the DESIKE. decorative arts and of the examples of design in the nuiseums, and the taste is trained both by this study and by the criticism of original de- >-igns prepared by the students. Finally there is acUled to these branches the detailed technical instruction necessary for each particular indus- try, such as stained-glass work, carpet-weaving, wall-paper making, pottery, and glass-work: and the graduate pupil is then qualilied to enter the service of some industrial establishment or to make designs for sale to the manufacturers. Among the conspicuous schools of design, be- sides those treated in special articles, there may be mentioned the Kcole Xationale ct Speciale des Arts Decoratil's, in l*aris: the Berlin Bau Akade- mie, the 'icnna Impi'rial Art Institute, the Art Schools of the Boston iluseum of Fine Arts, the School of Applied Design for Women, and the Cooj5er Institute (q.v. ), Xew York, the Chicago Art Institute, and the textile schools of Lowell and Philadelphia. See also Akt Students' League ; Ecole des Beaux- Arts : National AcADEitY OF Design: Royal Academy, Lon- don: South Kensington, Art Schools of; Saint Li-ke. Academy of. DESIRADE, da'ze'riid' (Sp. descada. de- sired). A small island in the West Indies, sit- uated about eight miles northeast of Guadeloupe, of which it is a dependency (Map: West Indies, R 0). It is about seven miles long and one and one-half miles broad, and contains about 10 square miles ; it is without a good harbor. Its population is about 1400. chiefly emancipated slaves. The island was the first discovery of Columbus on his second voyage in 1403. He named it Deseada. It has been in the possession of the French since 1814. DESIRE (OF. denir. Fr. dfsir. It. deslro, dc- siderio, from Lat. desideriiim, desire, from de- siderarc, to desire). An imperfect volition. In both desire and volition an 'attractive' object or 'end' is set before consciousness : but in desire the individual is unable to attain the 'end.' unable even to attempt to attain it, while in volition he makes an efVort to possess the object, lie can hardly say that he is 'baffled' in desire, for that would imply the making of an attempt ; and although the object appears as desirable, it docs not appear as a thing to be scnight after — at least, not for the moment. The inhibition is an integral part of the situation in whi<'h the de- sired object is presented. The central process in desire is. then, a motive shorn of its power. One may desire an object which has fallen out of reach : but since it is out of reach, one does not 'will' to get it. Only when the means of attain- ment eone before the mind. or. at least, when the impossibility of reaching the object escapes the mind, does tlie volition arise; only then, that is, does one actually endeavor, strive to obtain the object. Until experience teaches that some things are impossible of attainment, the distinction be- tween desire and volition does not arise. Thus the infant desires the moon, and at the same time stretches forth his hands to grasp it. He may still desire it after he has learned that it is an object in the sky : but he does not "will" to pos- sess it. Some psychologists have given the word 'de- sire' a wider meaning than that just explained. They leave out the element of inhibition or in- ability, and assert that whenever an idea pre- sents itself as a motive it arouses desire, whether