as an academy there was not until 1868 any system of instruction or study. Prior to that time permits were issued to students to make copies of paintings, and drawings from casts and life, under supervision of a Committee of Instruction. For the schools as they exist at present credit is chiefly due to John Sartain, Christian Schüssele, Fairman Rogers, Thomas Eakins, Dr. W. W. Keen and Thomas Anshutz, and Philadelphia has reason to be proud of their honorable record and of the work thus far accomplished. The Academy has the honor of having been the first art institution to open its doors to women, with the same privileges and upon the same terms and conditions as to men. Gérome was of opinion that the experiment might be desirable, but could hardly be successful. There is, however, no question as to the most satisfactory results.
The purpose of the Academy has been and is to offer opportunities for higher education, and facilities for study subject to criticism by the instructors; it is not to teach details but the fundamentals of art, and the instruction is primarily and chiefly for those who intend to make art a profession.
When Michael Angelo saw Titian's painting of Danæ, he is said to have remarked "pity that in Venice they do not learn how to draw well," and to have added that if "art had done" for that great master of luminosity and color "all that nature had, everything would have been possible for him." Now the Academy laying stress upon primary and fundamental things, seeks to give a thorough understanding of drawing, of movement or action, and of form; and believes that as these are grasped or mastered whatever natural and artistic pre-disposition or talent the student may possess will be drawn out and developed.
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