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should be reviewed in the light of the principles which have been presented and the pupils should be required to criticise them in terms of such principles. Specific effort should be made to develop power to judge according to definite standards. It is not sufficient for a pupil to say that a design is bad or that he does not like it; he should be called upon to state why it is good or bad, and, if unsatisfactory, how it is to be remedied by alteration in structural nature, in "balance," "rhythm," "variety," or "unity." These terms the pupils should learn to use comprehendingly.

SUMMARY

To summarize briefly, one may say that the foregoing is a plea for the teaching of definite principles and for their definite application. It is not recommended that many problems be solved during the school term. many cases, all that is possible is the making of one or perhaps two designs. These should if possible be for application to some article of use in the school, for there can be no more significant factor in a lesson in design than a knowledge that such lesson is making for the beauty of a thing which is to form a part of our everyday surroundings. The problem once decided upon, the four steps named should be taken in order, the masses introduced, broken up, refined, and filled with subject matter. These steps will take several lessons, and the development and application of a color scheme as many more. Far better, however, that one good design be made, than many patterns leading to no specific power of execution or of criticism.

DISCUSSION

MRS. IDA HOOD CLARK, director of manual training, public schools, Milwaukee, Wis. In the midst of our present wealth of educational theories, the need seems not so much for any addition to them or of any restatement of them as for a little genuine wholesome action in carrying them into effect, and yet, this problem of the education of little children, tho so very old, and so very much discussed is always new and never exhausted.

Since I have been in charge of manual training for a number of years, it would be quite natural to think I might regard manual training and art instruction, for they are one and the same thing, as the salvation of childhood. This is far from the truth, for I think we should only defeat our efforts by advocating any special subject, however commendable in itself. What we are after is culture and the power and perfection that comes thru culture. It is not a new motive, but one that underlies all that the new movements in education, of which art and manual training and the kindergarten form so prominent a part.

We must, then, get this culture by surrounding the child with those influences that make for culture. What we must do, then, in educating our children, is to give full and free play to their emotional life; we must consciously and deliberately encourage feeling and sentiment, and create the greatest possible number of wholesome desires, and this is very easy, because all we have to do is not to suppress it. We should value this emotional side because it all leads to action, and to the very sort of action that is educationally most valuable to that which is self-prompted.

The children themselves suggest the right method in education. What they want most is to be employed, and with something that interests them. Why do the children

prefer a country farmhouse to the city home? Because there is more to do there. This is the great fact that the new education has seized upon. It attempts to make knowledge real to the children by making it a part of their experience. And to do this, it enlists the life forces on its side, instead of arraying them against it. We ought to use our skill as teachers in directing the wonderful self-activity, that in children is already a reality. We are to provide the place for its exercise, and decide, in a large measure, what shape it is to take. But we ought always to do this with a sympathy and co-operation of the child, and never against his protest. It is a bad practice in education to attempt to control the occupations and activities of children and neglect the motive power back of it all. It is a good practice to accept the desires of children and allow them wholesome expression. A large part of childish instinct is the desire to make things, to construct something; it is only by such experience that the child comes to know the great outer world and finds himself in it. The work of education consists in directing the activities of the children into those channels which will yield the most helpful reactions, by concentrating the wandering attention, by increasing the delicacy of touch, by cultivating the finer and finer discrimination, by training the observation, by developing, as far as may be, each and all of the faculties, we make possible that unfolding and perfecting of the human spirit, that evolution of human nature, which is in the end-education.

Our schools have an economic, an educational, and an ethical purpose; while we seek to develop the mind, and thereby give it knowledge and skill that enables one to be self-supporting, we must at the same time, develop the moral sense as well. So, in this educational scheme, what is the function of handicraft? We have shown its value in economic results; business men, educators, far and wide, all admit the influence of art instruction on the industrial world.

And now we are striving to use art and manual training as a means of expression, that shall have a still larger influence in the educational world, as the means of developing thought, and of expressing this thought in connection with any subject in the curriculum. So we must use this handicraft as we now use language, as a means of developing and imparting ideas—as a medium of expression. Then, if it serves this purpose, no matter what its technical deficiencies are, it has an educational value.

So this is the ideal in modern education; the practical question remains, "Who shall carry it out ?"

It would be unfortunate to intrust this most important interest of society to any but the best men and women; not those who know the most, but those who are the strongest, the most beautiful, the most lovable, the most cultured, as well as the most skilful and best informed.

In this newer education, the need for wise and beautiful teachers is especially great; for observe the teaching material that is available—it is difficult to find men and women of broad culture who can also use their hands. The artisan habit of thought does not make for the unfolding and perfecting of a human spirit. His thought is directed solely toward the product, and his skill is in handling the dead material. What we want is a teacher whose thought is on the process, whose cunning is the handling of the living material-the children-that the proper agents for carrying out this method and gaining this end, are the best men and women that society has produced-the very flower of the race-men and women of large experience and broad culture, men and women to whom life in general has been kind, those who have caught sight of the complete life, and those who would have this vision of life prevail.

JAMES HALL, director of art department, Ethical Culture School, New York city.— In saying that a problem in design may be stated with the precision of a problem in geometry, Dr. Haney is obviously regarding design as a science. In taking this view he agrees with the other recent authorities upon the subject, but we are immensely indebted to Dr. Haney for the clear and convincing statement that he has given us of his methods of teaching the principles of applied design.

The discovery that these principles can be exactly and scientifically stated is, without doubt, of the greatest value to art education. Moreover, it makes it possible to teach correctness of artistic expression by and to those who may have no great capacity for artistic feeling. It may enlist interest in design and lead later to a feeling for good art.

But does not the science of design bear a similar relation to artistic expression that the science of language does to literary expression? That it is desirable to teach correct speech, no one would gainsay. That formal grammar has its place is generally admitted. But, of course, the teaching of English means far more. It means bringing the children into contact with the classics of the language as an inspiration in themselves, and as a means of developing the ability for forceful and vivid expression on the part of the children.

I know there is danger in reasoning by analogy; but I believe this analogy will hold good in the matter of teaching design. Dr. Haney has said that good illustrative matter must be presented to pupils if they are to evolve good designs. He further tells us, that example counts for much in such practice, and that the illustrations offered should relate specifically to the problems. These statements may be interpreted so that they cover the point I am attempting to make. In practice, however, the examples offered pupils in modern school-teaching of design, fall far short of being classic examples. They are much more apt to be examples worked out to order by the staff of supervisors. Let us be thankful that they can make as good designs. That these are not frequently of unusual merit I do not wish to imply, but would the local teacher of English offer his own productions for the sole study of his pupils? Does he not rely largely on those things that time has proved? In truth, the study of the classics is fundamental, is it not? So it seems to me in the teaching of design, the rich heritage of the past should be made to yield up its wealth of suggestion and inspiration. The reaction against copying lifeless and unrelated scraps of historic ornament has almost swept away any study of the classics of design in public schools. There is need of a revival of the teaching of the master examples of design. This teaching, however, should be vitalized by considering the ornament in relation to its environment, and to the material in which it appears, and by leading the pupils to see how beautifully the past artists solved their problems of applied design. It should give them insight into the creative impulse. It should be our aim, in design teaching, to lead the pupils to appreciate a beautiful style in design. This style is the art and is largely outside the pale of the science of design.

There are, then, two things to teach-the one which Dr. Haney has so admirably elucidated, the making of a correct design, the other, the appreciation of the real beauty of design, which requires study of the finest examples. These two thoughts must be kept in mind thruout the teaching.

DEPARTMENT OF
OF MUSIC EDUCATION

SECRETARY'S MINUTES

FIRST SESSION.-WEDNESDAY MORNING, JULY 5, 1905

The department was called to order in the First M. E. Church, Asbury Park, N. J., at 9:30 A. M., by President W. A. Wetzell, who announced that he would not read his address as announced on the program. The program was then presented as follows:

Music-organ solo-by Mrs. Bruce S. Keator, Asbury Park, N. J.

"The Mission of Public-School Music," by A. E. Winship, editor of Journal of Education, Boston, Mass.

Music-vocal solo-by Miss Laura Minturn, supervisor of music, Asbury Park, N. J. "Some Questions Involved in Making Music a Major Study in Public Education," by W. Scott, secretary, N. E. E. League, Boston, Mass.

At the conclusion of Mr. Scott's paper, the president announced that there would be two sessions on Thursday, the first one to be devoted to the topic of "Children's Songs;" and that Miss Eleanor Smith, Mrs. Jessie L. Gaynor, and Mrs. Marie Burt Parr would give talks on the subject, illustrating them by singing some typical songs for children. He also announced that in the afternoon of Thursday a class of children from New York city to illustrate the paper read by Dr. Frank R. Rix would be present, and that certain phases of rhythm work would be presented by Philip C. Hayden, Keokuk, Iowa. The completion of the program followed the announcements:

Music-organ solo-by Mrs. Bruce S. Keator.

"The Correlation of Music With Other Branches of the School Curriculum," by Mrs. Elizabeth Casterton, supervisor of music, Bay City, Mich.

Discussion led by W. A. Putt, supervisor of music, Cleveland, Ohio.

Music-vocal solo-by Miss Laura Minturn, Asbury Park, N. J.

President Wetzell appointed as a nominating committee Dr. Frank R. Rix, supervisor of music in Greater New York; Mrs. Constance B. Smith, of Illinois University; and A. J. Gantvoort, of the Cincinnati College of Music.

SECOND SESSION.-WEDNESDAY AFTERNOON, JULY 5

The second session was opened at 2:30 P. M. with a song by Mrs. Mabel Shank, who rendered in a delightful manner Barratt's "The Scent of an English Rose," and in response to an encore, gave "They Say," by Randegger. Later in the program she sang "My Bairnie," by Vannah, and the “Carmenia Waltz,” by Wilson, which were listened to with the greatest pleasure. The program was then given, as follows:

"Music as a Factor in Culture," by Charles Edward Locke, D. D., Brooklyn, N. Y. Music-vocal solo-by Mrs. Mabel Shank.

"Relation of the Grade Teacher to Music Instruction in the Public Schools," by C. A. Fulmer, superintendent of city schools, Beatrice, Neb.

Discussion was led by Miss Julia E. Crane, director of Normal School of Music, Potsdam, N. Y.

Music-vocal solo: "My Love Nell," Fox; "Auf Wiedersehen," Bendix-by Anthony E. Carlson, Boston, Mass.

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