and several series of Royal Mail stamps, and John Vernon Lord's sleeve for Deep Purple's Book of Taliesyn. The longer history of the school of art in Brighton includes artists Conrad Heighton Leigh and Helen Chadwick, and poster designer John Bellany. See Categories:Alumni of the University of Brighton History 19th century, Brighton School of Art Ideas for the establishment of a School of Art in Brighton resulted from a public meeting in 1858 which led to the formation of a Committee to raise subscriptions and donations. The Committee sought to “instruct working people to do their work better by turning it out of hand neatly and handsomely as well as usefully, and thus enable them to command the best price for their labour, and to compete more successfully with the foreign workman”. Most of the art schools that had been established in Britain by the 1840s and 1850s were linked to local and regional industries. Brighton was not an industrial centre in the most obvious sense but, according to Henry Cole her "industries" were "health, recreation, education and pleasure". On Monday 17 January 1859 Brighton School of Art opened its doors to more than fifty pupils and was situated in a room off the Royal Pavilion Kitchen provided by the Town Council. The first Art Master was John White, who brought with him experience of a similar post at Leeds School of Practical Art and ran classes for several different constituencies: those of independent means who attended the Day Classes and were segregated by gender; artisans who were provided with evening classes at a low fee rate; and teachers, for whom fees were lower still. New premises for Brighton School of Science and Art were purpose-built in Grand Parade, Brighton, in 1877, in a Romanesque Revival style, with the façade in brick with Bath stone coping and cornices. The columns flanking the main entrance were in polished red granite, and the façade enriched by a series of terracotta panels and lunettes that had been designed by the Art Master Alexander Fisher, and executed by Messrs Johnson at the nearby Ditchling Pottery Workshop. Princess Louise, Duchess of Argyll, the most artistic of Queen Victoria’s children, and an accomplished sculptor in her own right, was present, as was Victorian art educational tsar, Sir Henry Cole. 20th century As a result of new openings for local authorities, a new Municipal School of Science