Studio: international art (34.1905)

The Birmingham School for Jewellers

sub-committee formed from
the two governing bodies,
the Jewellers' Association
and the School of Art.
With ample funds to com-
mand good instructors, the
next step of the committee
was to find an art teacher
of the highest standing,
with a sufficiently intimate
acquaintance with metal
work to fit him to take over
the organisation and control
of the new school, where
art was to be considered
studies from nature by a pupii. aged fifteen primarily, but always in

conjunction with its appli-
cation to craftsmanship.
The selection of Mr. R.
Calterson-Smith, a sculptor,
painter, and draughtsman,
whose association with Sir
E. Burne-Jones and William
Morris in the production
of the Kelmscott Chaucer
was sufficient guarantee
of his suitability from the

study from nature by a pupil aged sixteen

tests, etc., and required written papers and accumulation of book
knowledge.

Such training had its value, of course, but there was little connec-
tion with the art side of the school; and although some progress was
made in the following years, necessitating removal to larger premises
in order to accommodate the increasing number of students, the dual
control scheme never quite succeeded to the extent anticipated by
its promoters. The growth in attendance and the increasing financial
expenditure involved, only strengthened the desire of the Association
to improve its school; and finally a joint conference of the two in-
terested committees met in 1901 to discuss the matter. The Jewellers'
Committee acknowledged that, in attempting to follow the example
of the more strictly technical schools, so successful in Germany, they
had made a mistake: and that all the necessary technical training
required by the pupils could be better taught in the employers'
workshops. As a result of this conference, the Vittoria Street School

, ... . . , il , first exercise in engraving on

was created as an independent art school, under the control of a copper from nature