of an ignorant child. Only systematic instruction continued for years will give a ready command of an adequate vocabulary, and a clear, forcible style, in either sort of language.

The institute outlines have been somewhat as follows:-
:-

In drawing, — the language of form, as in English, there must be two kinds of exercises, general and specific. General exercises in English begin the day the pupil enters school. Every means is used to induce free expression of ideas. Later these general exercises are supplemented by specific language lessons, whose aims are to increase the vocabulary, to correct mistakes and to perfect the expression. Good results in English are thus obtained in the course of eight or ten years. But in drawing the work has been confined to the specific lessons; consequently eight years of instruction have often produced no visible effect. During the first twenty-five years of instruction in drawing in this State seldom or never was a class graduated from a grammar school with ability to represent the simplest objects in outline; nor has this result been secured yet, save in a very few places, and that but within a year or two.

Suppose every attempt of the pupil to express himself in English were to be discouraged with, "That will do; we have an hour a week for language!" would he ever have spoken. fluently? Drawing has been taught by itself as a detached specialty, "one hour a week." It has never been vitally related to anything but school management. Use drawing freely in other studies" has always been printed on our outlines; so has "not to be taken from the teacher's desk." One has been heeded about as often as the other.

Paidology is revealing much to us. We are beginning to follow the lead of the child in education. When unrestrained, he has always expressed himself by means of drawing almost the first day in school. Such free expression has been disregarded or discountenanced; now it is fostered and studied, for it is the germ of artistic graphic expression, and the basis for technical instruction.

Every teacher knows that pupils will produce sketches like Figs. 1 and 2 almost indefinitely, and with great delight; and, moreover, that ordinarily the sketches of third or fourth year pupils are no better than those of the first year, and often not

so graphic. The work does not improve much by mere practice; it must be re-enforced by technical instruction.

A study of these sketches will reveal their common defects and suggest the character of specific lessons to remove them. First, they reveal but a dull appreciation of form. Compare, for example, the four windows in the house of the three

Fig. 2.

bears, or the three representations of the body of William Tell

or of his son.

Second, they reveal a lack of ideas of size and proportion. Compare the sizes of apple, head and body in II, Fig. 1. The relative sizes. of bears and chairs and kettles are approximately correct in Fig. 2; but compare the relative sizes of the big bear, his chair and his house. And, while the kettles and the chairs vary in size, their bails and knobs do not.

Third, they show no freedom in drawing. There is lawlessness and a riotous disregard of everything but the idea to be expressed. True freedom is self-imposed restraint; it is self-directed conformity with law. Giotto's freehand circle is the ideal. In these sketches there is not a vertical nor a horizontal line, and there are no parallels.

Fourth, they are indefinite. The little artist cannot be depended upon. He draws a fair rectangle in the large chair, where it is of no special consequence, and lets anything do for a window or door in the house, where the rectangular form is important. Then, compare the twelve representations of feet in Fig. 1.

The specific lessons should, therefore, tend to improve the sketching at once along these four lines: perception of form, the establishing of units of size and proportion, the development of skill of hand and of definiteness in representation. These lessons will improve the sketching if the teacher is wise. When, for example, the pupils know vertical and horizontal as abstract lines, the teacher must never accept sketches in which that knowledge is not applied if occasion requires. In Fig. 3, a sketch by a third-year boy in Malden, the definite instruction in form and proportion, in free movement and in accuracy, has already commenced to improve the expression of ideas.

From the first, illustrative sketching, thus supplemented, should be encouraged and directed.

In language and reading only such sketches should be accepted as tend to give the pupils clearer ideas of occasions or conditions suggested by the words.

In number the sketches should be limited to those which (a) aid in making the transition from the concrete to the abstract, (b) make clear the conditions of problems and (c) illustrate principles.

In geography the most valuable sketches are those which are either (a) diagrams showing relations of objects in plans of the schoolroom, school yard, village, etc., or (b) maps in which ideas gathered from the globe, the earth itself, or both, are embodied in the order of their importance.

In history the sketches should consist (a) of representations of characteristic details of dress, household utensils, weapons, means of conveyance, etc., which aid in presenting to the mind a clear picture of the times; and (b) of diagrams and maps showing paths of discovery, routes of travel, locations of settlements, acquisitions of territory, plans of campaigns, movements of armies, etc.

In physiology the most effective sketches are diagrams which aid in fixing in mind facts of structure and function.

In nature study the sketches in the lower grades should embody ideas of life, growth, movement in plants, and, later, ideas of adaptation, and the specific forms through which the life manifests itself. In the study of minerals, insects, birds and animals, ideas of form and structure should be embodied in the logical order: (a) whole mass-general shape, (b) prin