of the walls of a schoolroom as much a part of its duty as furnishing desks and books; for as Americans we have developed too much on one side, considering nothing but that which appeals to us as practical and ignoring that through which the glory of the past has been handed down to us. ART FOR THE SCHOOLROOM. By BARR FERREE, in Education. There are few healthier indications of a genuine interest in art or a better indication of its value in general education than the movement which has for its object the providing of artistic decorations for schoolrooms. A good deal has been done in this direction in England, and in America interest in it has found fruit in at least three general exhibitions in Boston, Philadelphia, and Brooklyn. In several other cities and some of the lesser towns considerable progress has been made, and individual schools in various parts of the country possess veritable miniature art galleries, so numerous are their photographic treasures. No more important work in introducing art into the general life of Americans has been undertaken, for it means bringing it directly before children, many of whom are without artistic home influence, who do not know the value of a picture even as a decoration, or only in a limited way, certainly not in an artistic sense. It is too much to suppose that every child will be interested, that the life of every pupil will be brightened in this way, but it would be equally foolish to set a limit upon the good that may be accomplished by it. The good that can be done, however, must not blind us to the fact that it must be done with the most elementary materials. * * * In attempting to answer the question. In what shall the artistic decoration of the schoolroom consist? we must keep in mind the elementary conditions at the outset. The object of the decorations is to create an interest in art and an appreciation of it; and the people it is proposed to benefit are, in large part, quite devoid of any artistic knowledge. The less tax put upon the brains of the children the more satisfactory will be the result. A concrete idea is more easily grasped than an abstract one; familiar objects are comprehended quicker than strange ones; the lesser is mastered before the greater. In other words, we can not have "high art," we can not concern ourselves with "schools" and "values" and "tones" and all the literary and artistic paraphernalia of the modern painter. We are trying to instill some knowledge of art into the minds of the multitude, and we must get down to the level of the multitude ourselves before we can lift it up. We can not clean out the gutter by sweeping cobwebs from the roof The utmost care is required in the selection of subjects; we must not shoot above the comprehension of the children; we must not set a standard so high that only a few can come up to it. We must, in a measure, be commonplace, and trust to time for greater work and more enduring results. In a sense, all sorts of subjects are suitable for schoolroom decoration, but experience will show that only a limited range of topics is available. Taking the whole field of possible subjects, I would arrange them in the following order of availability: (1) Patriotic, (2) historical, (3) pictures of places, (4) photographs of famous people, (5) architecture, (6) paintings, (7) sculpture. To these may be added plaster casts under the last head, pieces of pottery, and other inexpensive forms of room decoration. * ** We have to deal with American children and to interest them in a form of decoration for the walls of which they know almost nothing. The simplest range of subjects therefore would appear to be those of a patriotic nature. All children have some sort of a notion of the history of their own country, even before they begin its serious study. The great names in American history are familiar to all, while Christopher Columbus is as familiar as the name of the parent of each child. Scenes in the lives of American worthies may not in themselves be familiar to the children, nor may their bearing on American history be understood, but any picture which embraces, for the sake of illustration, the figure of George Washington is something all can understand, or about which information can usually be had for the asking. It is the same with Lincoln, or with any of the great names that adorn the pages of American history. * * * Next in elementary value to patriotic illustrations are pictures of historic events. The two subjects are, in fact, so closely related that little difference can be distinguished between them. Here also are subjects easily understood and naturally included within the scope of the common-school curriculum and having, therefore, a positive value that more artistic pictures can not have. It must be remembered that the children must not only see the pictures but be interested in them. Questions will be asked and explanations demanded that the teacher, in the most unexpected moments, will be called upon to reply to. Corps of lecturers can not be supplied to make our illustrations useful, and the movement must be carried out on such lines as will be productive of the best results. The teacher must know the pictures on his walls and understand their significance, and patriotic and historical subjects have a utility from this point of view that no other group possesses. ness. * * * * * * Pictures illustrative of great events in the history of the world may be placed after those touching on American topics. Here the field is almost inexhaustible, yet the utmost care must always be taken to choose only subjects of general interest and great familiarity. The Conversion of Clovis is an event which has frequently been illustrated in French art, and in not a few notable pictures; yet while it was an event of the first importance, it does not begin to have the practical availability that characterizes any event in the life of Napoleon. A series of pictures illustrative of the world's history could be made of the utmost value educationally; yet for its use in American schools it would probably be found that many notable events would have to be omitted. Availability is of more value than completePortraits form another important class. Portraits of eminent Americans must be considered before the portraits of eminent foreigners, living or dead. Here, again, are subjects more or less familiar. Familiar subjects have many advantages over unfamiliar ones, be their relative artistic merits what they may. A child will take a greater interest in a picture that represents something he himself knows of or has heard about than one utterly strange. Views of one's own town, or of notable streets, places, or buildings within it, have, therefore, a utility of a very high order. From such pictures children will learn something of the value of a photograph; they will discuss its resemblance to the actual object and learn to understand that a picture has a real value apart from being something to hang on the wall. From photographs of familiar places it is not more than a step to photographs of notable places the world over, of pictures of fine bits of scenery or of famous towns. Pictures of places open up a field of great extent in schoolroom decoration. It is a general subject that, in many different ways and on many different points, touches directly upon the course of study. Geography and history can be made of living interest with the aid of pictures in the hands of an interested teacher. In geography alone the help would be enormous. Even the best of illustrated geographies fail in giving adequate illustration of foreign lands, of climates different from our own, of people of other nationalities. Place a series of carefully selected photographs illustrating such topics in the hands of a competent teacher and it would be easy to forecast the good that might be done with them. The general topic is so broad and its applicability so varied that it may not be necessary to limit it; yet it may not be unimportant to point out its value in American subjects for patriotic purposes. In no other way can a clearer impression be made of the vast resources of our * * * country and its extent than through a series of photographs of its riches in natural scenery. * * * * * * After architecture come paintings; and if we judge from the exhibitions of suggested decorations, this is the form of art it is most desired to introduce into the schools. Here, at last, we have the form of art through which it is hoped to quicken the imagination and broaden the intellect, to throw open to the child a new field of thought and to lay the foundation of a lifelong appreciation of the beautiful and the artistic. Yet we must not let our theories carry us too far over the heads of those we are seeking to benefit; the grandest painting may be too great for any appreciable quantity of good to be derived from it. Once more we must be careful in our selections; whatever pictures are used must be comprehensible. With sculpture, which I would place last in order of availa bility, we have a subject that can be illustrated both in photographs and in actual form by casts. Casts are less open to criticism than photographs, for the cheaper sorts, which are the most likely to be used, are of comparatively ordinary types that require no guide books to their meaning. With photographs we would be apt to use idealistic types and abstract conceptions quite beyond the range of children's minds. A cast of one of Barye's animals, for example, is cheap and good. The children may not understand the perfection of its art, but they will see it as an animal and many of them can appreciate its naturalness. The fact that casts are much less familiar as objects of decoration than photographs or prints gives them a special interest apart from their artistic qualities. There are other phases of artistic decoration fully as available for schoolroom decoration as those already noted and possibly more intelligible. Cheap bits of pottery, especially of Japanese manufacture, are of the greatest value and give an unusual and muchneeded note of color as well as of decoration. It is as important to teach the artistic effect of well-harmonized colors as the grouping and arrangement on the flat which we have in photographs. Japanese ware, even of the commonest sorts, will be found eminently suitable for this purpose, and the low price at which really excellent pieces can be had render it especially desirable. ** * All things considered, cheap decorations are preferable to costly ones. Thirty photographs at 50 cents each, supposing a suitable artistic standard were maintained throughout the series, are surely more desirable than one costing $15. In the latter instance we have only one object that can be placed in but one room; in the former we have a series that may be distributed among several rooms and perhaps among several schools. The work to be done now is educational in a double sense, since it not only introduces a new element into school life, but it must interest people in this work. It would be a grand good thing if all our schoolrooms could have two or three photographs, each costing $15 or more, upon their walls, but there is much missionary work to be done before that happy time can arrive. And meanwhile we must do the best we can with the many inexpensive forms of art reproductions. Under the direction of the French Government, for example, many thousands of photographs of buildings in France have been made that cost in this country about 50 cents each. Italian photographs are likewise astonishingly cheap, and if not to be had in the shops can be imported through the mails at small expense. Illustrated books can be taken apart and the plates framed, furnishing the best of decorations at relatively small cost per plate. This is especially true of many continental art publications, of which, unfortunately, we see too little in this country. Then there are the plates published in the artistic and architectural journals. Not all of these are available for this work, but much useful material may be obtained from them at very small cost. Finally, not to extend the list too far, there are the colored supplements printed by the art papers published in the interests of amateurs, many of which are admirably reproduced and entirely suitable, framed or unframed, for schoolroom decoration. * * * I have not touched upon the question of grading the schoolroom decoration to the instruction, though for any sort of decoration to be successful it is imperative that this be carefully heeded. * * * For the upper schools the question is much less difficult than for the lower. The older the pupils, the more advanced their studies, the better able will they be to appreciate such artistic adornments as may be provided for them. If the graduating classes of our grammar and high schools were to adopt the custom of presenting something to their school on leaving it, really valuable collections might be formed in such institutions within a very short time. Once started, such a custom would doubtless be gladly carried out by each succeeding class, but it might be a matter of some difficulty to inaugurate it among children to whom it would be new and whose parents might look upon it as a tax upon them by the teachers. ** * If the pictures are the actual property of the schools, they are likely to remain permanently on the same walls. Better results may be obtained from movable collections which, after being shown in one school, are removed to make room for another collection, and so on, until an extended rotation may bring the first series back again. If the material is ample, this may not occur until the children have either changed or have thoroughly forgotten the earlier series. With such a series of collections, a very large number of subjects may be brought before the children, stimulating their interest and quickening their power of comparison, and certainly creating an increased appreciation of art. That, indeed, is the object those who have interested themselves in this matter have most at heart. Yet it should not be forgotten that very many schoolroom decorations can have an educational value and can be usefully employed in actual study. Their utility should not be forgotten in their beauty. ART IN THE SCHOOLROOM THROUGH DECORATION AND WORKS Of Art. Miss Stella Skinner and Miss M. Rachel Webster, of New Haven, Conn., have published "A list of casts and pictures suggested for the first eight years of school, with special reference to the general course of study in these grades." The list was prepared with special reference to the schools of New Haven, and contains lists of casts and pictures classified by years and under the headings of general art culture, literature, history, language, geography, and historic art. The names of painters are added in most cases. Miss Skinner delivered a paper before the Buffalo meeting of the National Educational Association on this subject, which may be considered an illumination of her list. It is here reproduced from Art Education, October-November, 1896: "Many of our primary teachers responded to a suggestion, made several years ago, that a picture of the Madonna be hung in the schoolroom in connection with the Christmas idea. This gave rise to a discussion in a subsequent teachers' meeting as to how the picture should be interpreted to the children. Some felt that its religious significance should be given, but the consensus of opinion was that it should stand as the type of motherhood and the love which surrounds all children. "We were much interested to learn what madonnas appealed most to the children, and found that their choice centered upon three: Raphael's 'Madonna of the Chair' and 'Sistine Madonna,' and the Bodenhausen 'Madonna.' Even the little children are impressed with the majesty of the Sistine; but I think they love most the 'Madonna of the Chair,' in which brother love is added to parental. "Many touching incidents are recalled connected with the pictures. The children were eager to tell of home babies; that was the way their mother loved their baby; and we came to realize that some of the poorest homes were rich in affection. The primary children of one of our Sunday schools commemorated the Christmas season by giving a Bodenhausen Madonna to one of the mission kindergartens. The picture was placed against the wall, while the teacher told the Christmas story to the children clustered about it. As they turned to go to their tables, one little waif asked if he might kiss the baby,' and straightway every little urchin in turn bent over and reverently kissed the Christ-child as he turned to go to his work. * * * "A few weeks ago I asked a thoughtful primary teacher, who is in close sympathy with the best kindergarten ideas, for her experience in interpreting the madonna idea to her children. After relating the various plans she had tried, she gave as the result of her experience the opinion that the most satisfactory way was to let the picture greet the children when they first entered school in September and become familiar to them, but to defer its interpretation until the Christmas season. One little fellow confided to her that the picture made him think of his mother; she was awful nice.' "With the madonnas was told something of the life of Raphael, his unselfish character, his eagerness to learn, and his being a countryman of Columbus, living in sunny Italy at about the same time. In many instances the beautiful boyish portrait of Raphael was shown. * * * "We were agreed at the outset that pictures in a schoolroom should serve two purposes-primarily, that of general art culture or spiritual uplifting, and secondarily, the strengthening of other school subjects. While a picture might serve both purposes, it need not necessarily do so. * * * "Aside from pictures expressing a religious idea, other illustrations of childhood are needed, and of animal and plant life, such as Feeding the Chickens, by Jacques, and Lambert's Family of Cats.' "Van Dyck's Children of Charles I ' is always a favorite; the pupils note the family resemblance in the children; they think they must have a kind mother, because they look so happy and neatly dressed. They decide that the children have their 'Sunday clothes' on because they are having their picture taken; and they enjoy the little spaniel at the brother's feet. Other artists suggested for study in the primary grades are Michael Angelo, Murillo, Dupré, and Millet. While the work of Michael Angelo, the man, requires maturity of thought for comprehension, the boy Michael carving the faun's head out of a piece of marble interests children very much, and the story connected with it delights them. Even tiny children speak of the laughing expression on the faun's face. Michael Angelo, the stern, serious, lonely man, has little attraction for children, but they can be told of his devotion to his work, how he wrought with a sad sincerity' to express the great thoughts which came to him, and how his life was gladdened by having the sunny-natured Raphael for a friend. "Cattle and sheep being subjects for special study in language and science in the second and third years, Dupré and Millet were chosen as representative artists. The children enjoy Dupré's cheerful episodes of farm life. His 'Escaped Cow,' and the frantic efforts of the farm boy to catch her, delight them; while 'The White Cow, with the young girl milking, and her mother watching from the doorway, is a charming pastoral scene. In sheep pictures we have an embarrassment of riches-Millet's Shepherdess: 'The Sheepfold,' by Jacques: Le Rolle's 'In the Meadow,' Monk's Hillside,' and many others; while David the Shepherd Boy, by Elizabeth Gardner, is full of inspiration. Other choice pictures for primary grades are Bouguereau's 'At the Fountain;' a young girl in the dewy freshness of childhood, looking at you with wistful, appealing eyes, her hands clasping the handle of a quaint pitcher, or teapot as the children called it, until one little Italian remembered having seen similar water vessels in his native land. Also, Madam Le Brunn's portrait of herself and daughter; Von Bremen's By the Brook,' and Reynolds's 'Angel Heads.' One little |