Abstract
Britain has a unique art education history, which is very different from that of the
Continent. Major European nations established their art academies as state-funded
schools focusing on fine art. In contrast, the British Parliament authorized the formal
establishment of the Government School of Design (renamed as the National Art
Training School in 1863, now the Royal College of Art) in 1837. It aimed to uplift the
artistic quality of manufactures and to provide “design” education for British workers.
The school elaborated the pioneering educational system, called the “South Kensington
system”, in the latter half of the 19 th century.
However, the school had been considered ill-managed and failed among Victorians.
Also, former studies have negatively evaluated the school which did not envisage
creativity for students. Casting a light on the autonomy of design as a new genre,
this article shows the new clue to reconsider the problems, by focusing on the
transformation made on the word “design”. The author examines how the school
differentiated its education from the Royal Academy. Finally, this paper re-examines
the significance of design education in the Government School of Design through the
criticisms by Christopher Dresser (1834-1904) who improved the instructional method.
