“Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius.
Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy”

design as well as draw! <br class="br">George Wallis. &quot; Art Education for the people. No IV. The principles of Fine Art as Applied to Industrial Purposes http://books.google.com/books?id=l55GAQAAIAAJ&amp;pg=PA231.&quot; In: People&#x27;s &amp; Howitt&#x27;s Journal: Of Literature, Art, and Popular Progress, Vol. 3. John Saunders ed. 1847, p. 231.