Life of Adam Smith. John Rae
the respective functions of the University and the College, or the respective claims of the regius professors and the Faculty professors, or the respective powers of the Rector and the Principal; and Smith himself was one of a small committee which presented a very lengthy report on this last subject to the Senate of the University on the 13th of August 1762. The report was adopted, but two of the professors dissented on the ground that it was too favourable to the powers of the Principal.
But, wrangle as they might over petty points of constitutional right or property administration, the heads of Glasgow College were guided in their general policy at this period by the wisest and most enlightened spirit of academic enlargement. Only a few years before Smith's arrival they had recognised the new claims of science by establishing a chemical laboratory, in which during Smith's residence the celebrated Dr. Black was working out his discovery of latent heat. They gave a workshop in the College to James Watt in 1756, and made him mathematical instrument maker to the University, when the trade corporations of Glasgow refused to allow him to open a workshop in the city; and it was in that very workshop and at this very period that a Newcomen's engine he repaired set his thoughts revolving till the memorable morning in 1764 when the idea of the separate condenser leapt to his mind as he was strolling past the washhouse on Glasgow Green. They had at the same time in another corner of the College opened a printing office for the better advancement of that art, and were encouraging the University printer, the famous Robert Foulis, to print those Homers and Horaces by which he more than rivalled the Elzevirs and Etiennes of the past. To help Foulis the better, they had with their own money assisted the establishment of the type-foundry of Wilson at Camlachie, where Foulis procured the types for his Iliad; they appointed Wilson type-founder to the University, and in 1762 they erected for him a founding-house, as they called it, in their own grounds. They had just before endowed a new chair of astronomy, of which they had made their versatile type-founder the first professor, and built for him an astronomical observatory, from which he brought reputation to the College and himself by his observation of the solar spots. They further gave Foulis in 1753 several more rooms in the College, including the large room afterwards used as the Faculty Hall, to carry out his ill-fated scheme of an Academy of Design; so that the arts of painting, sculpture, and engraving were taught in the College as well as the classics and mathematics, and Tassie and David Allan were then receiving their training under the same roof with the students for the so-called learned professions. The Earl of Buchan, while walking, as he said, "after the manner of the ancients in the porticoes of Glasgow with Smith and with Millar," unbent from the high tasks of philosophy by learning to etch in the studio of Foulis. This was the first school of design in Great Britain. There was as yet no Royal Academy, no National Gallery, no South Kensington Museum, no technical colleges, and the dream of the ardent printer, which was so actively seconded by the heads of the University, was to found an institution which should combine the functions of all those several institutions, and pay its own way by honest work into the bargain. In all these different ways the College of Glasgow was doing its best, as far as its slender means allowed, to widen the scope of university education in accordance with the requirements of modern times, and there was still another direction in which they anticipated a movement of our own day. They had already done something for that popularisation of academic instruction which we call university extension. Professor John Anderson, an active and reforming spirit who deserves to be held in honour in spite of his troublesome pugnacity, used then to deliver within the College walls, with the complete concurrence and encouragement of his colleagues, a series of evening lectures on natural philosophy to classes of working-men in their working clothes, and the lectures are generally acknowledged to have done great service to the arts and manufactures of the West of Scotland, by improving the technical education of the higher grades of artisans.
Now in all these new developments Smith took a warm interest; some of them he actively promoted. There is nothing in the University minutes to connect Smith in any more special way than the other professors with the University's timely hospitality to James Watt; but as that act was a direct protest on behalf of industrial liberty against the tyrannical spirit of the trade guilds so strongly condemned in the Wealth of Nations, it is at least interesting to remember that Smith had a part in it. Watt, it may be recollected, was then a lad of twenty, who had come back from London to Glasgow to set up as mathematical instrument maker, but though there was no other mathematical instrument maker in the city, the corporation of hammermen refused to permit his settlement because he was not the son or son-in-law of a burgess, and had not served his apprenticeship to the craft within the burgh. But in those days of privilege the universities also had their privileges. The professors of Glasgow enjoyed an absolute and independent authority over the area within college bounds, and they defeated the oppression of Watt by making him mathematical instrument maker to the University, and giving him a room in the College buildings for his workshop and another at the College gates for the sale of his instruments. In these proceedings Smith joined, and joined, we may be sure, with the warmest approval. For we know the strong light in which he regarded the oppressions of the corporation laws. "The property which every man has in his labour," he says, "as it is the original foundation of all other property, so it is the most sacred and inviolable. The patrimony of the poor man lies in the strength and dexterity of his hands, and to hinder him from employing this strength and dexterity in what manner he thinks proper without injury to his neighbour is a plain violation of this most sacred property. It is a manifest encroachment upon the just liberty both of the workman and of those who might be disposed to employ him."[57] Watt's workshop was a favourite resort of Smith's during his residence at Glasgow College, for Watt's conversation, young though he was, was fresh and original, and had great attractions for the stronger spirits about him. Watt on his side retained always the deepest respect for Smith, and when he was amusing the leisure of his old age in 1809 with his new invention of the sculpture machine, and presenting his works to his friends as "the productions of a young artist just entering his eighty-third year," one of the first works he executed with the machine was a small head of Adam Smith in ivory.[58]
In the Foulis press and the Academy of Design Smith took a particular interest. He was himself a book-fancier, fond of fine editions and bindings, and he once said to Smellie the printer, whom he observed admiring some of the books in his library, "I am a beau in nothing but my books." And he was a man, as Dugald Stewart informs us, with a carefully-cultivated taste for the fine arts, who was considered by his contemporaries an excellent judge of a picture or a sculpture, though in Stewart's opinion he appeared interested in works of art less as instruments of direct enjoyment than as materials for speculative discussions about the principles of human nature involved in their production. Smith seems to have been one of Foulis's chief practical advisers in the work of the Academy of Design, in settling such details, for example, as the pictures which ought to be selected to be copied by the pupils, or the subjects which ought to be chosen for original work from Plutarch or other classical sources, and which would be most likely to suit modern taste.
Sir John Dalrymple, who appears to have been one of Foulis's associates in the enterprise, and to have taken an active concern in the sale of the productions of the Academy in its Edinburgh agency shop, writes Foulis on the 1st of December 1757 regarding the kind of work that ought to be sent for sale there. "In the History pictures that you send in, I beg you will take the advice of Mr. Smith and Dr. Black. Your present scheme should be to execute not what you think the best, but what will sell the best. In the first you may be the better judge, since you are the master of a great Academa, but in the last I think their advice will be of use to you."[59] The letter concludes: "Whether it is an idea or not, I am going to give you a piece of trouble. Be so good as make out a catalogue of your pictures, and as far as you can of your busts, books of drawings, and prints. Secondly, your boys, and how employed. Thirdly, the people who have studied under you with a view to the mechanical art. And lastly, give some account of the prospects which you think you have of being of use either to the mechanical or to the fine arts of your country. Frame this into a memorial and send it to me. I shall have it tryed here by some who wish well to you, and as I go to London in the spring, I shall, together with Mr. Wedderburn and Mr. Elliot, consider what are the most prudent measures to take for your sake, or whether to take