imports as were capable of discovery, manufacture, and culture, at home.
Cobalt was discovered in Cornwall; buff leather and its manufacture improved; copper and brass vessels were tinned; and hemp, flax, and madder, were cultivated for the use of our manufacturers. "Saw-mills were built; our fish-supply improved; and the curing offish encouraged. Upon the fish-trade alone the Society expended many thousands of pounds, and succeeded in establishing a regular supply to the London markets."
During the greater part of its career the Society thus addressed itself to the task of fostering the useful arts. One condition, however, was, in the early days of the Society, rigidly insisted upon. The inventor who sought to obtain recognition of his discovery was obliged to forego the idea of patenting his work. What was given to the world by the assistance of the Society of Arts was to be given freely and openly for the benefit of all. Although this principle would find many and eloquent advocates at the present day, a period intervened during which it was found necessary to make concessions to patentees. The introduction of steam as a motive power led to a sudden and immense development of mechanical ingenuity, and swelled the prospective reward of a successful inventor to such large proportions that it was no longer probable that men would work for honor and glory alone. Eventually patentees were permitted to read papers before the Society of Arts, which, during the greater part of a century, continued to take an active interest in advancing the interests of science, and in affording aid and countenance to the other societies of less catholic tendencies, which sprang rapidly into existence. As has been already pointed out, the Royal Academy in its youth owed much to the Society of Arts; and it is worthy of note that, not only was the first exhibition of the works of rival artists held in the Society's rooms, but the first collection of photographs exhibited there in 1853. The Society still maintains a liberal tone, and is generous enough to grant the use of its handsome room to many societies for the purpose of holding their various meetings.
If the Society in the Adelphi merit a place of honor as a promoter of other societies, still more does it demand notice as the mother of exhibitions. Its exhibitional maternity was shown in this wise: In the year 1841 the Society of Arts, like many other originally active bodies, had shown signs of falling into decrepitude. For many of the purposes for which it was originally established, its office had been filled by other institutions, which, being less expansive in their views, appeared likely to act toward the mother-society like young ducks hatched by a barn-door hen, and to take to the stream of the future without consulting the feelings of their foster-parent. The Society was obviously falling into the sere and yellow leaf, and it was clear that something had to be done to rejuvenate it. A committee was
