ments æsthetic as well as constructive.

training in the manual arts.

Manual training must become

As a broad title the manual arts should include all forms of drawing, construction, and design which may be taught. The term recognizes the intimate relationship which exists between the subjects named and sees them as definite educational means working toward the common educational end. Defining in a general way the different branches, it at once emphasizes both the motor and artistic elements in their performance.

Drawing the arts regard not as a special training, schooling the hand and eye to dexterity in reproduction: over and above its manual value it stands as a medium of expression in the illustrative work of the little child and in the nature sketch or the plan of his older brother. To the younger pupil it is a form of language-a picture writing, a cursive script, in which he clearly mirrors back the ideas he has gained in the form in which such ideas have been pictured in his mind.

To the older pupils such drawing should be made of constant service. The illustrations in science lessons must not be made for illustration's sake, but because they are facts of form and proportion to be remembered; the plans not made as mere exercises with the T-square and ruler, but because such plans are needed for the constructed model which is to follow. And the model itself must stand as the definite center around which the dozen lessons in planning, construction, and decoration must revolve.

What shall the nature of the model be and what its material? Such questions can be answered only in the light of the conditions which prevail in any given locality. It is to be made plain that the manual arts do not contemplate any uniform series of models to be repeated in a dozen different cities, or even in a dozen different schools of the same city. The form to be made in each case should be one which rises out of the real need of that particular class-room. The associated lessons in free-hand drawing, in mechanical drawing, in color, and in constructive and applied design, will then have direct points of application. To the teacher with the constructive point of view the range of such models is extensive. Furnishings for the school may be made, pieces of apparatus, and scores of that host of lighter appurtenances-note-books, covers, portfolios, and the like-which every class-room must have. Other forms may serve to make clear the historical development of industries which the child reviews in his study of the rise of the race from the forest dwellers to the people of great cities, or may serve as useful household articles to introduce the child to the fruitful field of home industries and to the minor crafts. The teacher impressed with the value of the arts will thruout her daily work seek for opportunities for motor expression, and will feel no satisfaction for any lesson which may be so emphasized until it has been made a constructive as well as a mental memory.

The materials in the arts should be varied. The child should learn his power of control over many plastic and pliable things, over many things which may be cut and shaped-string, yarn, clay, raffia, paper, leather, wood, and thin metal. The occupations offered should be typical. Given the occasion for any form, it should if possible be made then, that it may lend its aid in giving to the child the constructive point of view. "Every good occupation," says Dr. Hall "should be curricularized." Every model should' show to the child the relation of plan and design to finished form, and as his power of appreciation grows, every form should reveal to him the possibilities of its refinement in obedience to the laws of taste. The search for beauty in the arts is one of the roads whereby they lead to culture.

Taught thus with a common purpose and without undue emphasis upon technical ends, the arts act and react to mutual advantage. Ability to draw and to plan is seen to lie at the basis of construction, while the laws of beauty speak in every well-planned form about us. The arts regard the desire for beauty as instinctive-a passion to adorn. Thru such instinct they would lead the child to learn the laws of fitness of form and decoration, and to see such laws as they appear in the fine painting or in the lowly form of daily use. The arts should be conceived as representing but varying phases of one idea. They are not to be dissociated, not to be betrayed from their position as indispensable mediating agents between the child, his studies, and the social life about him. As co-ordinate and co-ordinating forces their value may be stated in definite terms for pupil, teacher, curriculum, and school.

For the pupil they are primarily "developmental" in that they offer to him from his earliest years most valuable media for self-expression— media so adaptable that, at each change in his point of view from infancy to adulthood, they stand ready to respond to his desires to investigate, to fashion, and to adorn; media so potent that at each higher level which he reaches in consciousness they reveal to him broader knowledge of his own powers and keener insight into the activities of the world about him. The arts present in the forms made elements of direct use and permanency; they practically acquaint the child with the laws of beauty as they enter into the structure and decoration of things for use; they offer activities which school him to habits of neatness, independence, and mental and manual discipline; they present instruments thru which he may be given knowledge and stimulus which cannot be conveyed in any other way. As vehicles they serve to convey him on the road from social endeavor to the domain of social experience. They seek to create in him, with a varied ability, a power to see constructively-to realize, that is—the agents, the tools, the plans, and the processes which have built and are building the world about him. They place him as a worker in the world, not as a spectator. They quicken his sympathy and his interests. They aid to make the school less school and more life.

For the teacher the arts, when comprehended, act as a liberating agent. She gains the power to shape the details of the course of study. With personal initiative for the child comes the possibility of personal initiative for herself, in the adaptation of the drawing, construction, and design to the development of her class work in a dozen different subjects. To the teacher the arts give a direct method of approach to the child; they offer a disciplinary agent controlled by interest and of unrivaled power. In regenerative work-in reclaiming the dull, the backward, the truant irked with learning without doing-the arts have no peer in the studies of the class-room. In their practice the child. becomes a willing co-operator who may be called upon for suggestion both for problems and for their solutions. Mutual interests breed sympathy. The arts become a bond between the teacher and the taught. Such sympathy is gained in no other way. They cause the teacher who realizes their value to seek constantly for relations between learning and doing; or better, for opportunities to teach thru doing. Insensibly, unconsciously, the teacher who has grasped this vitalizing principle becomes broad and yet broader in her point of view. She sees her work from without as well as from within. Self-activity on her part becomes as necessary as on the part of the child. She becomes much more truly a student of the child and of his education.

In the elementary curriculum the arts stand as a center and startingpoint, from which the child can proceed by way of his immediate interests to his immediate surroundings. Relating themselves as well to work in number, language, or nature study, they serve as a flux to weld the primary curriculum into one common whole. The educational philosophy which preaches the arts preaches the child as the motive force in the cur

It offers, in place of an imperfect system of correlation, a definite scheme of work based on the pupil's mental processes and on the development of his mental powers-a distinct and comprehensive scheme in which the different subjects jointly aid in giving to the pupil that composite view of the world which he is at the moment prepared to receive. The arts would introduce the direct, the objective, methods of science-teaching to the pupil; would make the schoolroom itself a laboratory where plans would be thought out and experiments tried; would cultivate the child's active, not passive, attitude; and would transform the class-room from a place of listening and rigidity to a place of doing and activity. Thruout childhood and adolescence they would seek in every way to be identified with the child's life; only when thus identified can their peculiar functions be made of highest service.

Two broad and general deductions may be drawn from the foregoing the first, that the successful development of the arts depends upon their natural growth in the curriculum; the second, that they must not be confined to the schoolroom, but must become part of the life and activities of the child-must, in other words, pass over into the home.

In thus passing from the school into the home, the arts will help to bridge the inevitable gulf between the two. In our modern city life the school would seek to usurp many functions of the home. It would not only train the child to labor, but would now also essay to train him to play. The play spirit like the work spirit grows best in an atmosphere of freedom. The arts respond to the play spirit— they represent pleasure in labor. The best freedom of the school is restricted when compared with the more perfect freedom of the home. Keener individuality is to be developed in the latter a fuller realization of independence and self-help. The arts in the home become more closely identified with the inner life of the child-the life the teacher can see as but thru a glass, darkly. The home suggests a hundred problems scarce visible in the atmosphere of the schoolroom. Tol the child each of these is of vivid interest. The arts taken over into the home serve to link the school life to the family life; the class-room stands them for no drill-room, but for a place wherein desired knowledge of plan and process is to be gained. Taken over into the home, the arts lend distinct aid in making education in school and out one continuous process.

DEPARTMENT OF ART EDUCATION

SECRETARY'S MINUTES

FIRST SESSION. - WEDNESDAY, JULY 8, 1903

The first meeting of the department was held Wednesday morning, July 8, at 9:30 o'clock, in joint session with the Manual Training and Elementary Departments, Mr. Charles F. Warner, president of the Manual Training Department, presiding.

The topic for the morning was "The Relation of Art Teaching to Manual Training and Industrial Training."

For the full program and minutes of the joint session see minutes of the Department of Manual Training.

At the close of the joint session Miss Clara A. Wilson, president of the Department of Art Education, announced the following committees:

The second meeting of the department was held in the New Old South Church and was called to order at 9:30 A. M., President Clara A. Wilson, of Davenport, Ia., presiding.

After the opening remarks by the president, Denman Waldo Ross, lecturer on the theory of design, Harvard University, Cambridge, Mass., read a paper on “The Teaching of Art." The reading of the paper was followed by questions and discussions.

Miss Bonnie E. Snow, supervisor of drawing, Minneapolis, Minn., read a paper on "Considerations for a Practical Study of Drawing in Public Schools," which was discussed by Charles M. Carter, director of art, city schools, Denver, Colo.; Solon P. Davis, director of art, city schools, Hartford, Conn.; and William A. Mason, director of art, city schools, Philadelphia, Pa.

Under the order of business, the report of the Committee on Nominations was presented as follows:

Mass.

For President James Frederick Hopkins, director of art instruction, public schools, Boston,

For Vice-President- Charles M. Carter, director of art instruction, public schools, Denver, Colo. For Secretary-Miss Lillian Cushman, instructor in art, School of Education, University of Chicago, Chicago, Ill.

For Member of the Executive Committee for term expiring July, 1906 - Miss Clara A Wilson, supervisor of drawing, Davenport, Ia.

The report of the committee was accepted, and the secretary instructed to cast the ballot of the department in favor of the persons nominated. The ballot was so cast, and the officers were declared elected.