used since 1894 in the instruction of college students only. The Tulane Manual Training School made an impression, however, which has resulted in the development of other secondary schools in Louisiana and elsewhere, in which manual-training features are conspicuous. The establishment of the land-grant colleges thruout the Union has undoubtedly had a most stimulating effect on the public interest in manual education. This effect has been felt in the South as in the North and West, and if conditions have not been as favorable with us for the rapid carrying out of the idea in the primary and secondary schools, it is nevertheless distinctly before the minds of educators in every southern state as a goal to be striven for. Not only in the land-grant colleges has manual training become a feature of the curriculum, but in many higher institutions such instruction is given as a phase of the training for the engineering profession. At the University of Virginia, Vanderbilt University, and Tulane University fine equipments exist and good courses are taught, and they in their places have effected public sentiment in favor of the education of the eye and hand as necessary and rational. From the influence of the colleges the wave has spread downward. In most of the southern states industrial schools have been established for boys and for girls, sometimes separate and sometimes together, and for whites and blacks alike. In these schools of secondary grade the manual-training idea is often carried over into the trade-school idea, the industrial awakening that has occurred in the south making such transition inevitable. The true manual-training idea has, however, not been lost sight of, but is steadily before the minds of the most advanced teachers as something to be realized in all the schools as quickly as pecuniary conditions will allow. The small amount of money available in the average southern school is sufficient to account for all the deficiencies that we find in them. Small salaries secure as a rule only poor teachers, and little initiative can reasonably be expected of such teachers under conditions that would discourage the most capable and enthusiastic. Nevertheless, the situation is far from hopeless, the exhibits of many of the states showing very creditable work in all the grades in which hand-work has been introduced. Inasmuch as the age of students in the lower classes of the land-grant colleges is about that of good high-school students in more favored sections of the country, it will not be improper to call attention to the considerable amount of manual work being done in such institutions throughout our section. Most of the agricultural and mechanical colleges are making exhibits in connection with their state exhibits, or in the collective exhibit of the agricultural and mechanical colleges made by the national government, or in both. The character of work shown, both in drawing and in shop-work, compares favorably with that done elsewhere. There is a very intelligent and active class of men at work in these institutions, and the exhibits made by them are worthy of careful inspection. Among the endowed institutions mentioned above, Tulane University is apparently the only one showing manual work, its exhibit in the Louisiana. section including a full course in wood- and iron-work carried out from the standpoint of engineering education. The "industrial institutes" or "industrial schools," referred to above, are reaching a considerable number of young people of both sexes and both races. They are admirable in their object and, in most cases, in their results. We find, however, that not many of them are exhibiting at this Fair. Interesting exhibits of such schools may be seen in the state exhibits of Arkansas, Louisiana, Mississippi, Tennessee, and Texas. There is no exhibit from the Miller School of Virginia, already referred to, which is cause for regret. Manual work is being done by the normal schools in most of the southern states, which, of course, will have its effect rather promptly in the grade schools. This is a hopeful feature. The attention being paid to manualtraining work in all the southern summer schools is also sure to bear good fruit thruout the length and breadth of the land. In the Summer School of the South, at the University of Tennessee, at Knoxville, where twenty-five hundred teachers from all the southern states are gathered for serious study, instruction in all forms of manual-training work is given to large classes, reaching in grade from the kindergarten to the high school. At the School of Methods of Virginia, held at the University of Virginia, where over one thousand teachers are annually in attendance, the same thing is true. In North and South Carolina, Mississippi, Louisiana, and in other states there are summer schools in which such instruction is given. It is evident that all this will soon have its effect. There are to be found among the exhibits of the high-school grades of the public-school system examples of admirable work, but they are not numerous, tho scattered rather broadly. In the exhibits of Arkansas, Kentucky, Louisiana, and Texas there are creditable displays showing development along approved lines. Some form of hand-work is becoming reasonably general in the grammar schools in towns, and, in fact, in many rural schools. Besides the kindergarten work found pretty generally scattered, raffia-work, sloyd, basketry, beadwork, weaving, sewing, and cooking have all taken hold here and there and exhibits of the results are shown. The importance of manual training in the education of the deaf, dumb, and blind has been well recognized for some time thruout the South. One is not surprised, therefore, to find in the exhibits of several states the evidence of the excellent results to be obtained from the unfortunate ones of these classes. In conclusion, I beg, in behalf of the southern teachers, to report progress and to state that, with the steadily accelerating interest in popular education, it will be only a little while before the South will be well to the front in its manual-training work. DEPARTMENT OF ART EDUCATION SECRETARY'S MINUTES FIRST SESSION.-TUESDAY, JUNE 28, 1904 The first session was held on Tuedsay, June 28, at 2:30 P. M., in the assembly hall of the Agricultural Building, President James Frederick Hopkins presiding. The general topic was "Art Education for the People." The program was as follows: President's address, James Frederick Hopkins, director of art education, public schools, Boston, Mass. 1. "The Influence of the Art School and Museum on Civil Life," by Edmund H. Wuerpel, Superintendent of St. Louis School and Museum of Fine Arts. 2. "The Republic of France---A nation of Art," by Professor Jean Marduel, associate secretary of technical instruction, French Commission to the Louisiana Purchase Exposition. 3. "Art Education in Germany," by Professor Leopold Bahlsen, commissioner of the German Education Section, Louisiana Purchase Exposition. 4. "The Art Educational Exhibits of the Louisiana Purchase Exposition," by Mrs. Matilda Evans Riley, director of art education, St. Louis public schools. At the close of the program the president announced the following committees: SECOND SESSION.-THURSDAY, JUNE 30 The second session was held on Thursday, June 30 at 2: 30 P. M. In the absence of the president, Miss Mary A. Woodmansee, Dayton, O., was elected president pro tem. The general topic was "Art Education for the Student." The program was as follows: 1. "Art Education for the American Student," by James W. Pattison, art lecturer, Art Institute, Chicago, Ill. 2. "Organization for Art Education in Great Britian," by Captain Percy Atkin, British representative for education to the Louisiana Purchase Exposition. 3. "The Educational Influence of Public Outdoor Art," by George E. Gay, director of the educational exhibit of Massachusetts at the Louisiana Purchase Exposition. 4. "Education for Artistic Handicraft in Sweden," by Professor Charles Lidman, professor of art in the public schools, Stockholm, Sweden. 5. "The Training of the Art Student, as Shown by the Exhibits at the Louisiana Purchase Exposition," by Miss Anna Vandalaine Henkel, first assistant supervisor of drawing, public schools, St. Louis, Mo. At the completion of this program business was taken up. The Committee on Nominations reported the following nominees: For President-Mrs. Matilda Evans Riley, director of art education, St. Louis, Mo. The secretary was instructed to cast the unanimous ballot of the department for the aforesaid nominees. The vote being so cast, the nominees were declared elected as officers for the ensuing year. As there was no other business to come before the department, the meeting was adjourned sine die. LILLIAN S. CUSHMAN, Secretary. PAPERS AND DISCUSSIONS -PRESIDENT'S ADDRESS THE INFLUENCE OF A GREAT EXPOSITION AS AN ART EDUCATOR—A WORD OF INTRODUCTION JAMES FREDERICK HOPKINS, DIRECTOR OF ART EDUCATION, PUBLIC SCHOOLS, BOSTON, MASS. "The wisdom of all ages is none too great for the world's work," said the lamented President McKinley during his famous speech at Buffalo in September, 1901. Thus he justified the exhibition which he was then visiting; and thus are justified all great expositions of man's progress. The modern exposition is a collection of the world's achievements for the world's inspection. Therein may we make comparisons, refresh our minds and spirit, and plan most wisely for future developments. This great Louisiana Purchase Exposition, upon which has been spent so much time, loyalty, and treasure, gives us "a living picture of the artistic and industrial development at which mankind has arrived," and truly offers a new starting-point from which all men may direct future exertions. It is well that the National Educational Association should meet within the gates of this grandest of expositions. Here for the first time in exposition history do we find education adequately housed, presented at the head of the scheme of classification, and represented by a wealth of arrangement and detail never before approached. America here shows to the world that she depends upon her educators to pave the pathway thru which man enters social life, and right nobly does she present the work of her loyal teachers. Second in this grand scheme of classification comes the field of art in which this department is so deeply interested; and what a picture of the power which lies behind art education is presented within the gates of this cream city of the forest! Here as in a mirror is reflected the real condition of man's development in taste, in culture, in character, and in productiveness. Third in this arrangement is the field of liberal arts and applied sciences, giving clear pictures of the results of education and culture. Here inventive genius is shown controlled by taste and scientific expressions, and in keeping with this twentieth-century spirit, dominated by artistic expression. Therefore in these three grand divisions-education, art, and arts and sciences-do we have a clear picture of the result of man's education and culture, his inventive genius governed by his taste, and his scientific expressions governed by artistic inspiration. Thus, then, in this great Exposition as in no other way do we find how the teachers of general education and the trainers for art education have joined hands in equipping the boys and girls of this great nation for the opportunities of life in the fields which are here so clearly presented. The influence of these great international expositions is tremendous and far-reaching for the cause of art education. The Crystal Palace Exhibition in London in 1851 led to the establishment of that great scheme for industrial art education which, centering at the Victoria and Albert Museum at South Kensington, sends forth its inspiring influence to provincial cities and even into remote thatched hamlets. Philadelphia in 1876 displayed the first attempts at industrial art-training which progressive American cities were undertaking, and pointed so clearly the need of a higher national taste that educators everywhere undertook to make the study an integral part of the school course. France reorganized her public-school courses after her exposition of 1878 and extended her training in applied arts after the exposition of 1889. Manual-training and industrial art education were shown to be successful features of the educational display at Chicago, and so intimately related that there the present interest in the arts and crafts may be said to have begun. There was another side of that great exposition of the Columbian celebration, and that was its great influence in developing an appreciation of the beautiful. The splendid effect produced by the arrangement of grounds, waterways, and groupings of buildings had a most marked effect upon many of our great American cities. All over the land we find the harmony of its architecture and sanity of decoration echoed in numerous important public buildings and private residences. Reflected in the dream city by the lake, America saw for the first time her architects, sculptors, painters, and landscape gardeners working in harmony to produce a fine, thoughtfully planned result. And America did not forget the lesson. The grand new Library of Congress would probably not have been the thing of beauty we know today had the Chicago Exposition not held out its lesson of beauty. Our Public Library at Boston profited by that union of architect and decorator; and all over the broad land, in municipal structures, in commercial buildings, hotels, club-houses, and residences, do we find the influence of this most inspiring awakening. Truly the study of a great international exposition is the study of an epoch-marking display. Not only was the Chicago Exposition a great awakening to our American people in architecture and in civic art, but it brought about the better recognition of what was meant by more beautiful public life. Many of our great cities had established park systems; several had acquired by right of eminent domain great outlying areas which later generations were to see grow into |