our adult man, not having been properly trained and educated in his youth, is not so profitable a citizen as he might be-either for himself or to society. He has two weapons for work, his physical strength and his ingenuity, that which nature gives him and that which we develop in him by education. If he possesses the first without the second, he is but a poor creature; for steam and machinery have together almost monoplized the field of work without skill. If he possesses the second, it will almost compensate for the absence of the first, or certainly render the first of no absolute necessity. Both combined in one man make him master of the situation.

SKILL MULTIPLIES POWER.

Let us see how the account stands between labor and skill. We are born to labor of various kinds, and labor is but the application of force either with skill or without it. Labor without skill is the same as brute force, or the thoughtless work of machinery. If human beings are only trained to apply this force which they have in common with other animals or machines, then their labor is comparatively worthless, one horse being equal to three men, and one steam engine supplied with coal and water doing more than five hundred men could, and doing it without fatigue or any kind of distress. So the mere brute force in us expended in labor without skill is a very valueless sort of thing. Skill, however, employed in creative industry restores the balance of power in favor of human beings over beasts of burden, or even the steam engine. Skill may double, quadruple, or even centuple the value of a human being's labor. For example, suppose the labor of a house painter be worth $1 per diem, laying a coat of white paint, the labor of the skilled painter of pictures may be worth from $50 to $100 per diem, according to his skill. Suppose a man who saws or splits wood for the fire to be worth fifty cents a day, the man who splits it in very small pieces, and who is called a wood carver, may earn $50 a day with less trouble and more pleasure. Just in proportion, then, as our labor is performed with skill, it becomes less laborious and more valuable, and in the ratio that it lacks skill it is more onerous, less productive and less valuable. The acquisition of skill is therefore the * multiplication of power, and this is of as much importance to society as to each individual composing society.

One great reason why manual or physical work is so generally looked down upon is because it is so often the mere drudgery of unskilled persons.

Make the manual work as much a matter of skill as is that of an artist, and then labor becomes dignified in the sight of all men. But a man harnessed to a dump-cart is a little less dignified and several times less useful than the sorriest of horses. He is employing those faculties in himself which are the least valuable and the least powerful, and throwing away the best and the strongest. By every step in education which increases a human being's skill, he is proportionately removed from a mere animal condition, made a more profitable servant to himself and society, and a happier and better man.

HOW TO CREATE SKILLED LABOR.

The great want of this country to-day is skilled labor, that is, economic power equal to that which enriches some countries of the Old World. The only way in which it can be generally secured is by the teaching of industrial drawing in the public day schools, and giving technical or secondary education in evening schools. Special art schools may do much in the continuation of the instruction given in the public schools; without such a basis of instruction the establishment of special drawing schools is a waste of money and will end only in disappointment; with it, they are a necessity to preserve the good already done. People who know nothing about this industrial problem talk about taking away drawing from the list of studies in the public schools as being unpractical. How practical they are as judges may be estimated by the statement that the wealthiest countries in the world to-day are those in which drawing is taught in the public schools, and the boy or girl who can draw well can earn twice the amount of wages by practising it that they could in applying their knowledge (obtained in the public schools) of any other subjects.

From his third address on "Teaching Drawing" are taken a few prac tical words to teachers; his illustrations by simple, natural forms are full of suggestiveness.

Study this art of drawing for your own enjoyment of existence, and to assist you in becoming good teachers. Draw upon the blackboard every lesson you give, for the blackboard is to education what the steam engine is to industry.

Some teachers do not use the board in teaching drawing, saying that they cannot draw well enough to illustrate on the board. This is an eminently illogical and silly way of looking at the matter. You might just as well say you will not go into the

water until you know how to swim. What insane nonsense that would be! You go into the water before you can swim and in order that you may learn, and you must draw upon the blackboard, both as a pupil and a teacher, in order that you may learn to draw and learn to teach.

The Norman French have a proverb, "They forge well who forge," and it applies to all departments of human activity. They draw well who draw, and they teach well who teach; and you must draw long and much on the blackboard before you can teach in a masterly way, or even make yourself thoroughly understood inthe language of form, to the world of thought and human consciousness. But philosophic teaching requires that we should go from the thing to the thought, create the true thought by observation and analysis of the actual thing. For the idea must always precede the work, the conception be ahead of the execution, be the avant-courier of the deed.

OBJECT DRAWING-TYPICAL FORMS.

Where this is possible, as in object drawing, always have the object before you and before your class whilst drawing it, and choose such common and familiar things to begin upon that your scholars know them from familiarity with them.

Here I bring you some good practical objects with which to commence your study of object drawing. They illustrate the geometric basis of Nature's craftsmanship, the simple groundwork of all her performances. The sphere, the one shape which never varies, however or by whomsoever seen, is the basis of this orange, the form which it most resembles, as an irregular form can resemble that which is regular, and this apple is also nearest like the sphere of all geometric solids. The way in which they differ from the sphere will be their individual character, which you may therefore know by comparing them with it.

Again, I take two common things, a fruit and a vegetable, the lemon and potato, and see that in their general shape they approach the form of an ellipse. So I should learn all that can be known of the ellipse, the regular form; and all I can learn is the proportion which the longer and shorter axes bear to one another, learn and practice the drawing of this exact form, in order that I may analyse and see the true character of objects based upon its general shape, which in nature are irregular or inexact, upon our human standards.

Then, again, I take this egg shape, this ovoid, as it is called, an actual, well-formed egg, and recognize in it another regular exact form, upon which many forms in nature and art are based, departing from the regular and exact in the ratio of their individuality and character. The human face is based on this ovoid form, and a personal likeness is the result of unlikeness to the form of the original geometric form. The spiral curve, so cunning, mysterious, and beautiful, is a regular geometric line and the motive of much that is beautiful in art and ornament. Here we see it in nature, in this shell, a perfect spiral, and it is also to be seen in the fronds of ferns before they unfold, and in many other natural creations.

Nature is very scientific, and her work is always on a plan, and her inexactness apparent to our poor vision is only a higher type of regularity, a law applied with a subtlety past our human comprehension.

Still, if we examine in all patience and humility into the basis of Nature's plan of creation we find a simple, regular, and exact type, easy to recognize and possible to define, and her departures from these simple types are but the playfulness of her humor or to display affectionately the wealth of her resources.

So when we look at the sphere, the spheroid, the ovoid, and the spiral we see the starting points of much that is to be found in the world of form and the means of their analysis to learn the character and individuality which different types of form have.

OBJECT OF TEACHING Design.

We teach design or arrangement in the public schools in order to develop originality of thinking and performance in children, not with the hope of making designers of them, for that is given but to the few, but to exercise the faculty of planning and forethought, which all human creatures have, and which is developed in so few.

I find all children are delighted with this exercise of designing. They have no lack of originality, but rather the reverse, for many of their works display an exuberant and almost fearful originality. Taking natural forms of leaves and flowers as subjects, and geometric regularity as a basis, repetition in rhythmical sequence as a guide, it is not only possible for very average children or people to make a fair design, but it is absolutely impossible to make a bad design, always remembering to use Nature's forms with scientific accuracy, and with the gentle grace of art.

In this art there should be full scope for originality, bad and good, a vent for all the perceptions and ignorance which children have, and in order that the teacher may see and know the habit of thinking and character of thought which the child has. For never let it be forgotten that a drawing is the evidence of a witness. It is our

representations of ourselves, mentally; what we can see, what we know, and finally what we can express.

No human creature ever makes a bad drawing by accident. It is always meant, and it is the true thermometer of our powers of knowing and of doing. And thus, when a distorted or untrue drawing is made by a pupil, it displays ignorance, which is to be pitied, not blamed; weakness to be assisted, not wickedness to be reproved, and the teacher who has the divine instinct of service and leadership, will always regard the poor work of his pupils as an appeal to his love and help, not the display of way wardness to be corrected and chastised with impatience or anger. The good teacher is never angry nor impatient.

In the fourth address-on "Household Taste and Principles of Industrial Design "-Professor Smith treats of the distinction between decorative and fine art, and explains in a practical way, with the simple directness and clearness of a thorough master and teacher, the underlying principles which separate them. As I do not remember that he has elsewhere so fully treated this important branch of the whole subject of art training, much of this address is here given:

The words "household taste" convey to each of us the ideas with which we associate the comforts and adornments of our homes and the homes of our friends or neighbors.

The very toys given to babies in their cradles affect their taste; and the savage barbarism displayed by some men in their maturity, in the houses they build, or in their knowledge of form, may be accounted for by the incipient influences of a more than usually atrocious Noah's ark, whose architecture and sculpture gallery formed the basis of their very early studies in art.

THE HUMANITY OF ART.

The foundation of household taste is laid deep in our very humanity, for a love of ornament is displayed only by human beings, none others of God's creatures having ever given any evidence of this characteristic, whilst no race of human beings yet discovered has ignored this craving for the ornamental, either in form or color.

The human race alone uses tools as a means of offence or defence, to provide for its physical necessities; and so surely as a tool or a weapon becomes the ready and faithful servant of the man it becomes also the subject of his love of ornament. The club or paddle or bow of the most savage race displays the rude effort at ornamentation which is the basis of all art. The Sandwich Islander, or the Caffre, differs from the artist of the age of Pericles in his style and subject only, not in his desire or aim; and the chief who requires his warriors to wear shark's teeth or eagle's feathers, and smear their bodies with startling colors, displays the same human faculty as that which prompted King Solomon or Lorenzo the Magnificent. Nothing else is so human in human nature as art.

There are many stages in the development of this human love of art, for it is one of many phases of civilization which go hand in hand together.

To beautify objects which are useful is the first stage, and thus ornamental art invariably precedes that which we call fine art, which is the highest development of the desire for the beautiful that seems to be the very birthright of mankind.

On that plane of ornamenting and decorating the things we love all men are brethren, belonging to one family; and it is a common possession which binds us together in spite of varying color, or creed, or race, or nationality, or form of government, or even of time. It is as universal as the edict which said, "In the sweat of thy brow shalt thou eat bread," not alone in the sweat of thy body, for the human creature is the only one which can be said to have a brow, and it is in the exercise of the brain upon which reasoning depends.

So that though some creatures are builders besides men, as birds, who unconsciously build beautiful nests, and many are engineers like the beaver and many kinds of insects, men alone are artists, and create and rejoice in the work of their own hands, made beautiful by their forethought, the sweat of their brows.

HAPPINESS AND ECONOMY OF ART STUDIES.

This effort to make the useful beautiful is only fulfilling our human instincts, developed beyond the animal state into a distinctively human feature, and it is therefore a privilege and an endowment which should be cherished as a great gift, and gratified as a higher form of necessity.

Love of the beautiful is indeed an exalted possession, for it proceeds on y from a revelation made to those who become fitted to receive it, though human nature is always struggling after it in various ways and finds delight and happiness in the gratification of this yearning. Intelligent people will no more ignore this common desire of the human nature than they will refuse to recognize the wish to live, or the longing to be free or healthy. It is here in our midst, and we are all affected by it, and must therefore make the best we can of the affection, and profit by its direction in true channels.

The pure enjoyment and exalted inspiration which the study and appreciation of art will give to us is a sufficient reward in itself; but the civilization and progress and development of a nation are associated with cultivation of the arts of peace; so that the interests of refined and intellectual society and the material prosperity of our country are associated in this study of art, a union of enjoyment and profit as rare as it is delightful.

ORNAMENTAL ART AND FINE ART DEFINED.

That which is called good taste in art resolves itself very much into a true understanding and a proper recognition of the distinction between ornamental or decorative art and fine art, and it is through ignorance of this distinction, or on the false standards by which either or both are judged, that outrages of taste and consistency are sometimes produced or accepted.

Let us see what this distinction is, by considering the origin and aim of both branches of art.

Ornamental art is that which is applied to useful objects to increase their beauty and attractiveness without interfering with their use. Good design provides for, and good taste requires, that this element of decoration or ornament should never decrease in the slightest degree the service for which the object was made, nor destroy to the least extent its usefulness, convenience, or permanence; and it is bad design when this is done by ornamentation, and bad taste which approves of it when done. The object must be adapted to its purpose, be made of good material, and as permanent as honest work can make it, a necessary condition of being serviceable, and then if it complies with these requirements, the more beautiful it is the better.

In the order of importance, then, we should look for art in industrial objects to give us (1) good material, which means honesty; (2) good workmanship, which means skill; and (3) good design, which means taste; honesty, skill, and taste, resulting in the highest form of industrial art. Its origin and aim is service, true and faithful essentially, and then as graceful and elegant as is consistent with the nature of its office, but service to bodily needs, not to spiritual necessities.

A work of fine art, such as a picture or a statue, has an altogether different function. It performs no useful service for our physical wants, but exists only that it may appeal to our minds, exhibiting to us perhaps the record of a great historical or a distinguished person, or a practical rendering of nature's choicest gifts. Its service to us is intellectual, and it performs no menial duty.

CONFUSION OF THE TWO BRANCHES OF art.

Here is then a clear field for the two branches of art, and each has its own language, limitations, and resources, which are not interchangeable, but radically distinct, in aim, motive, and performance. If these different purposes be confused, or an effort be made to design one object which shail discharge the functions of both, we shall be certain to see an outrage of taste, which no apology can excuse.

Thus a work of fine art, such as a statuette of the Apollo or Venus of Milo, having its head perforated, and screwed on by its neck to the body which is hollow, and made to do duty as a pepper-box, would degrade fine art and be an insult to good industrial art; resulting in a sorrowful statuette which use would distigure and destroy, whilst it could only by courtesy be regarded as a convenient pepper-box, to say nothing as a matter of taste to the source of the condiment, suggested by its holder. Oue Alustration is enough, though it is by no means difficult to find examples of such abom

inations.

The other way in which this misdirection is displayed is when a very humble thing of use attempts to be also a work of fine art, by imitation of nature. Thus even the handle of an umbrella may be made an instrument of torture by being carved into the likeness of an animal, the rough surface of whose hide, or the angular projection of its limbs and head, lacerate or irritate the sensitive hand every time the handle is held firmly, for the use it was made to serve.

As a rule no useful object should be ornamented by direct imitation of nature; but natural forms, well chosen for the purpose, should be conventionalized and ornamentally treated by symmetry and repetition suggesting its source and origin only; whilst in works of fine art, nature must at all times be both the source and standard of excellence.

FURNISHING.

Furuishing a room so that it will be a place to be in, have an agreeable influence upon us, both mentally and physically, and never go out of the best of fashions, and true taste, resolves itself into (1) a knowledge of the harmony of color; (2) a knowledge of the principles of good design as applied to each object.

We will look at both these sources of good taste, and try to find out by the exercise of observation and common sense what seems to be their law and order.

ON COLOR.

The general effect of a room will depend very greatly upon the color employed on the ceiling, walls, and floor, and these should be considered as a whole and made to harmonize with each other, as well as with the furniture and other objects in the room. There is a grammar of color as fixed and unchangeable as the law of harmony in notes of music.

If you touch the harmonic intervals on a piano with knowledge and skill, you produce chords which are harmonious and agreeable; but if you strike the key-board with the clenched fist, or sit upon it, you produce discord.

So with color; if you associate certain tints in definite proportion, you obtain harmony and pleasing effect; if you jumble all the colors together without law or knowledge, the result will be discord and physical and mental irritation, the same though acting on another sense as when you assaulted the piano.

The senses of sight and hearing have their rights, which cannot be outraged without inflicting pain on the individual.

NATURE'S PALETTE.

Nature is our best guide in the use of colors, and those tints, hues, and shades which we find prevailing in one position in nature, will never be disagreeable or out of place when employed in a similar position in the decoration or the furnishing of a

room.

Let us apply this.

How should we use color on ceilings, walls, and floors?

Suppose we look at nature's palette and see what she does in the way of chromatic decoration.

THE CEILING.

Take the natural ceiling, the sky, to begin with. What colors do we find there? Blue backgrounds, red clouds, yellow sun, with the neutrals white, gray, and gold, in clouds and sunshine.

Then blue, red, and yellow, with white, gray, and gold ought to be the right coloring for a ceiling, modified as to tint and tone and hue by the knowledge of the use which the room is to be put to.

It is impossible to furnish a room harmoniously if the ceiling be white, or if curtains or hangings of any kind be white; for either black or white in any quantity in a room will make impossible any harmonic results. The prevailing color may be a tint of red, blue, or yellow, according to the taste of the person who is to occupy the room, or the use of the room; but, this being decided, the rest of the room should be furnished to carry out the scheme of color, of which the ceiling strikes the key-note. Avoiding the controversies of the color-maniacs, we may still be allowed to call red, blue, and yellow the primary colors.

Come next to the walls.

THE WALL.

Between heaven and earth, the predominant colors in nature are seen in the green of trees, in the purple of distant atmospheric effects, and in the orange color of clouds at sunrise and sunset. These colors, green, purple, and orange are called secondary colors; and, together with admixtures of the neutrals to produce tints and tones, should be used on walls, letting the secondary wall color harmonize with the primary ceiling color; thus, if the ceiling be a tint of blue, the wall should be a tone of orange; if the ceiling be pink or salmon color, a tint of red, the wall should be a neutral green; if the ceiling be yellow or cream color, the wall should be purple in lone.

Then comes the floor.

THE FLOOR.

Beneath our feet in nature we shall find the tertiary colors, the russet and citrine of the earth stains, and the olive of grass shadows, relieved by small bright spots of the primary colors, red, blue and yellow, in flowers.

So according to this natural system, the color of floors, whether of wood, tiling,