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4.

involves an examination of the results and these latter tend to show that the tools and materials themselves were influenced by the ideas which sought expression.  An historical collection of specimens illustrating the progress of the graphic arts is, therefore, quite as much a necessity as a collection of tools and materials, and it is obvious that such a collection will furnish the material also for the study of the intellectual aspects of art.  The apparently purely material and unintellectural starting point of the scheme laid out for the Section of Graphic Arts thus leads in the end to a much broader [[strikethrough]] and [[/strikethrough]] ^[[as well as]] profounder illustration of the subject in hand than can possibly be provided in ordinary museums of art which ignore means and deal with results only.  Naturally, in endeavoring to bring together a series of examples illustrating the technical activity of the artist, it is found much easier to acquire prints of all kinds, than drawings and paintings.  This difficulty it has been sought to overcome in a measure, by adding a collection of photographs from paintings, etc.  These, however, can give but a very inadequate