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3. WHERE FORBIDDEN.-In free-hand drawing of objects or ornament from the copy or solid no mechanical aids are permissible, the exercises being tests of the observation and manual skill of the pupils, unassisted, save by the verbal criticisms and tests applied by the teacher. Neither ruling nor measuring is to be permitted. The teacher will, however, explain the means whereby the accuracy of drawing may be tested and corrected whilst in the sketch condition, such as by the convergence of retreating parallel lines in model drawing, or the test of direction of lines, symmetry of forms, and proportion of parts in ornament before the sketch is made into a finished drawing.

These regulations are based upon the best experience of those who employ drawing and designing for practical purposes, whether in fine or industrial art, and will render a simple and clear answer to the teacher's question of, "When and how may mechanical assistance be rightly employed in teaching drawing?"

ELEMENTARY AND APPLIED DESIGN.

Some of the suggestions made concerning the first steps in design are epitomized, and placed together here, for the convenience of teachers and for reference.

ELEMENTARY DESIGN.-DESIGNING IN THE THREE GRADES OF SCHOOLS.

PRIMARY.-In the primary schools the exercise is to learn names, and become acquainted with repetition and symmetry.

GRAMMAR.-In the grammar schools, to apply this knowledge to the arrangement of forms, either from nature or historical ornament, and take the first steps in applied design.

HIGH.-In the high schools, to exercise the arranging power acquired in the grammar schools by elementary design to applied design, i. e., to ornament some object of

use.

1. Primary.-Learn names and processes.

2. Grammar.-Learn to arrange.

3. High.-Learn to design for useful purposes.

SIMPLICITY OF ARRANGEMENT.

One of the greatest faults in the practice of elementary designing is over elaboration.

The forms used must not be too small in proportion to the ground to be covered, because this leads to confusion and loss of character in the design. There is much more beauty in the simple arrangement of good, well drawn forms, having a large proportion to the surface which has to be covered than in a profusion of complicated detail on a small scale.

The uncovered ground within a geometric form should never be more than onethird of the whole surface, the ornament occupying the remaining two-thirds.

Half-tint may be employed to distinguish the ornament from its background. Either the background may be tinted, or the ornament. Whichever covers the least surface should be in half-tint.

When there is more half-tint than white surface, the design is likely to appear heavy. The half-tint should be lighter than the outlining of the design. Stems should be kept partly behind leaves and flowers, not appearing uninterruptedly at too great length, or they will appear obtrusive.

STEPS IN PROGRESSIVE ORDER IN MAKING An elemenTARY DESIGN.

1. Select the geometric form or combined forms to be filled, and determine whether the tendency of its axis is to be in a vertical or a horizontal direction, or the treatment to be in a rosette form.

2. Select the subject of the proposed design, whether it is to be a plant form or an ornamental detail.

3. If the first, ascertain the principle of growth, whether opposite or alternate; i. e., whether leaves spring from the stem in pairs opposite to one another, or singly on alternate sides of the stem, and whether the flowers grow singly or in clusters.

4. Analyze the plant; remark the character of the leaf. Draw front views and side views of leaves and flowers, to use as material for the design.

5. If a detail of ornament be selected, notice how it has been used in connection with other forms.

6. Draw by free-hand the unit of design. Trace it, and repeat it as often as is required. Line in or finish with an even, distinct line."

PRINCIPLES Of elementary DESIGN.

1. Elementary designing is an exercise in arranging given forms, derived either from nature or historical ornament, in new and original combinations.

S. Ex. 209-35

2. The selected forms, if natural, may be either parts of a plant or an entire plant; namely, the leaves only, or the leaves, flowers, buds, and stem, with both front and side views of leaves and flowers combined. If ornamental, the given form may be a detail of some historical style; as, the Greek anthemion, the Egyptian lotus, or the Roman acanthus.

3. If the form be natural (as, for instance, that of the passion flower), the proportional size and number of the leaves to the flower should be preserved as far as possible; if both leaves and flowers are used, the general growth of the plant should be followed.

4. Plant forms should not be copied in all their minute details and natural irregularities when used in ornamental design, but be conventionalized; i. e., the general type form should be taken, omitting unimportant details or accidental peculiarities, and retaining only the broad general character and structural arrangements of the plant.

PROPOSITIONS CONCERNING DESIGN, BY OWEN JONES.

1. "Beauty of form is produced by lines growing out one from the other in gradual undulations. There are no excrescences. Nothing could be removed, and leave the design equally good or better."

2. "As in every perfect work of architecture a true proportion will be found to reign between all the members which compose it, so throughout the decorative arts every assemblage of forms should be arranged on certain definite proportions. The whole and each particular member should be a multiple of some simple unit."

3. "Harmony of form consists in the proper balancing and contrast of the straight, the angular, and the curved."

4. "In surface decoration all lines should flow out of a parent stem. Every ornament, however distant, should be traced to its branch and root."

5. "All junctions of curved lines with curved, or of curved with straight, should be tangential to each other."

6. "Flowers or other natural objects should not be used as ornament; but conventional representations founded upon them, sufficiently suggestive to convey the intended image to the mind without destroying the unity of the object they are employed to decorate. [NOTE.-Universally obeyed in the best periods of art; equally violated when art declines.]"

CERTIFICATES FOR TEACHING DRAWING AWARDED UPON EXAMINATION TO TEACHERS OF THE PUBLIC SCHOOLS FROM THE STATE NORMAL ART SCHOOL OF MASSACHUSETTS.

Courses of lessons and lectures are given to teachers at the school in Boston, and can be given in any locality by teachers of drawing who have studied in it. The sheets of drawings can be prepared and the examinations passed in each of the five normal schools of the State by arrangement with the director of the normal art school. The examinations are held annually, in the month of June.

CERTIFICATES OF THE THIRD GRADE FOR TEACHERS OF HIGH AND NORMAL SCHOOLS.

LIST OF CERTIFICATE DRAWINGS REQUIRED FOR PERMISSION TO BE EXAMINED.

INSTRUMENTAL DRAWING.—(1) A sheet of geometrical problems. (2) A sheet of perspective, including parallel, angular, and oblique problems. (3) A sheet of machine drawing, from copies or lectures. (4) A sheet of building construction, from copies or lectures.

FREE-HAND DRAWING.-(5) A sheet of model drawing, in outline, from the object. (6) A sheet of two model drawings, in crayon or pencil, shaded, from the copy and object. (7) A sheet of two model drawings, in stump, shaded from the copy and object. (8) A sheet of two model drawings, with the brush, from the copy and object. (9) A sheet of two outline drawings from natural foliage and common objects. (10) A sheet of design-one elementary and one applied. (11) A sheet of botanical analysis of a plant, applied in design. (12) A sheet of analysis of three styles of historic ornament.

EXAMINATION FOR CERTIFICATE.

The above drawings having been submitted and approved, time examinations for the completion of the certificate will be held at the end of the annual session as follows: (1) Perspective practice; one hour. (2) Perspective theory; one hour. (3) Model drawing, shaded from solid; one hour. (4) Harmony of color; one hour. (5) Memory drawing; one hour. (6) Historical ornament; one hour. (7) Machine drawing; one hour. (8) Building construction; one hour."

CERTIFICATES OF THE SECOND GRADE, FOR TEACHERS OF GRAMMAR SCHOOLS.

LIST OF CERTIFICATE DRAWINGS FOR PERMISSION TO BE EXAMINED.

INSTRUMENTAL DRAWING.-(1) A sheet of geometrical problems. (2) A sheet of perspective problems, parallel and angular. (3) A sheet of blackboard and dictation exercises and two elementary designs.

FREE-HAND DRAWING.-(4) A sheet of model drawing, in outline, from solid. (5) A sheet of free-hand, outline of ornament, from copy. (6) A sheet of botanical analysis of a plant. (7) A sheet of historical ornament in outline. (8) A sheet of two applied designs for flat surfaces. (9) A sheet of illustrations for teaching drawing in grammar schools.

EXAMINATION FOR CERTIFICATE.

The above drawings having been submitted and approved, time examination for the completion of the certificate will be held at the end of the annual session as follows: (1) Free-hand drawing, in outline, from copy. (2) Free-hand drawing from objects. (3) Memory drawings of an original design. (4) Geometrical drawing. (5) Perspective drawing. (6) Historical ornament.

Forty-five minutes given for each subject.

CERTIFICATES OF THE FIRST GRADE, FOR TEACHERS OF PRIMARY AND INTERMEDIATE SCHOOLS.

LIST OF CERTIFICATE DRAWINGS FOR PERMISSION TO BE EXAMINED.

INSTRUMENTAL DRAWING.-(1) A sheet of geometrical definitions, plane and solid. (2) A sheet of blackboard and dictation exercises and elementary designs.

FREE-HAND DRAWING.—(3) A sheet of free-hand outline ornament from copy. (4) A sheet of model drawing from solid. (5) A sheet of illustrations for a course of primary school exercises for teaching drawing. (6) A sheet of botanical analysis and historic ornament.

EXAMINATION FOR CERTIFICATE.

The above drawings having been submitted and approved, time examinations for the completion of the certificate will be held at the end of the annual session as follows: (1) Free-hand drawing, in outline, from copy. (2) Free-hand drawing from objects. (3) Memory drawing of an original design. (4) Dictation drawing. (5) Geometrical drawing. (6) Historical ornament.

Thirty minutes given for each subject.

IN ALL THE GRADES.

One sheet of drawings will be retained by the school from each set of those presented for certificates of the first, second, and third grades; and this sheet is to be duplicated by the student. The drawings are to be made on half imperial sheets of paper, or mounted on that size (15 inches by 124 inches); and the short edge of the paper is to be uppermost. Every sheet to be headed and numbered, according to grade, number, and subject, in printed characters, signed and dated, with the name of the school where the teacher is employed. Accepted works will be initialled by the director of the normal art school when approved.

IV.—THREE LECTURES TO BOSTON TEACHERS, BY WALTER SMITH, DIRECTOR OF DRAWING.*

INTRODUCTION.

The following lectures delivered by Professor Smith, while "director of drawing in Boston," to the teachers of each of the three several grades of the public schools of the city, were "printed for the use of the stu dents in the Massachusetts State Normal Art School."

As they are in no wise limited in their application to the particular audiences to whom they were first addressed, but embody direct practical instruction to teachers by the highest authority on this topic, and are for that reason of great value to all who propose to teach elementary drawing, either in public or private schools, I desired to include them in the appendix to this report; this, as the foot note shows, the author, who holds the copyright, and who is now at the head of the art depart ment of the new Technical College at Bradford, England, kindly permits:†

FIRST LECTURE; DRAWING IN THE PRIMARY SCHOOLS.

[Addressed to teachers of primary schools only. Delivered in 1881, in the hall of the Girls' High School. J

Mr. C. C. Perkins, chairman of the meeting, briefly addressed the teachers, and in closing introduced the Director of Drawing, who spoke as follows:

LADIES AND GENTLEMEN, FELLOW-TEACHERS:

It is now ten years since the industrial drawing act of this State of Massachusetts was passed by the legislature, approved by the governor, and became law.

By it the educational and industrial value of drawing was recognized. The place assigned to it was that of an element in general education on the plane of reading, writing, and arithmetic-not an optional, but a required study, and to instruction in which every child in Massachusetts, whether to the manor born or the stranger within her gates, has an inalienable right.

"Lectures upon Drawing in the three grades of Primary, Grammar, and High Schools of the City of Boston. Addressed to the teachers of the several grades, by Walter Smith, Art Master, London, England; Director of drawing in Boston, 1871 to 1881; Principal of the Normal Art School of Massachusetts; and State Director of Art Education in Massachusetts. Boston: Rand, Avery & Co., Printers to the Com monwealth, 117 Franklin street. 1882. pp. 58."

Colonel CLARKE,

+ HOLLIN CLOSE HALL, Bolton, near Bradford, Yorkshire, England.

Bureau of Education, Washington, D. C. :

MARCH 14, 1884. MY DEAR SIR: In response to your application, I hereby give you permission to reissue my three lectures on drawing to the Boston teachers as part of your report on drawing in the United States. Yours, faithfully,

WALTER SMITH,

Art Director Technical College, Bradford, Yorkshire, England.

It is nearly ten years since the city of Boston, following her instincts of obedience to the law, and taking her claimed position as a leader in the van of educational progress, seriously set to work to accomplish what this law required.

What has been done, with this object in view, by city and by State, during the past ten years, is not altogether unimportant in the history of education here; but as both you and I have taken part in this period of educational development, and are therefore familiar with its features, though we can hardly be considered judges of its character, there is no need for dwelling at length upon details of the past.

But it may not be unprofitable to us, remembering the purpose for which we are assembled here to-day, if, after these ten years of our joint labors, I should briefly summarize some of the purposes we have kept in view and the results of experience we have acquired.

As I am not privileged to address such a gathering of teachers as this very frequently in the city of Boston, and am fully aware of the valuable opportunity placed at my disposal now, I shall economize the time you give me by becoming brevity of introductory remarks, and devote myself chiefly to the task of making practical suggestions.

I see before me in this audience the faces of many who, nearly ten years ago, commenced with me, in those crowded and splendid classes in Appleton street, the practical study of drawing, and of some who, since that time, have passed to their present positions through the normal school, where they have been under my personal instruction. It is pleasant, after this relationship, to address you now as colleagues, and to bespeak your attention and patience for what I shall have to say on that ground.

You know that, though the teaching of industrial drawing in common schools was not a novelty in other countries, yet ten years ago it was regarded here as being in the nature of an experiment; and besides having to encounter the serious dead weight of popular ignorance of the subject, its successful teaching involved the qualification of all the public school teachers, young and old, by practice and study in a new subject, to give the instruction to pupils in the schools.

Great as was the diffidence many teachers felt and expressed in their ability to master the subject and to teach it, of their willingness to learn there was ample evidence by the attendance at the classes established for their instruction. The best proof of this is, that, out of one thousand and forty-five teachers employed last year in the public schools of Boston, only five had never attended normal instruction in drawing; and, out of one hundred and seventy-three schools, there were only three in which the teachers had passed no personal examination in drawing.

Such a record as that is creditable alike to the city which has provided the instruction, and to the teachers who have attended upon it.

Occasional exhibitions of class work, produced under the instruction of the regular teachers, by the pupils of the schools, and their exercises at the annual or semiannual examinations, show to demonstration that the personal study of drawing by the teachers has borne excellent fruits, and that, as a body, however various by comparison may be the attainments of individuals, the teachers of the public schools of Boston can teach drawing well.

I know that many of you do not think so, and this modesty is very becoming and delightful; but you must pardon me for saying that you are not always the best judges of your own work in every department.

Probably every teacher here present has one or more pet subjects which she can teach splendidly, and, by comparison, thinks her teaching of drawing is a failure; and so, perhaps, of some other subjects. But that does not settle the question. There is, perhaps, a very natural and human danger that the subjects which are delightful to the teacher, and in which she has much skill, will be overtaught to the pupils; and that is as much to be regretted as that there should be any subjects in which the pupils are undertaught, through the absence of confidence in her own abilities, on the teacher's part. Yet I will assert further that no teacher, to whose qualification to give instruction in the schools competent and impartial authorities have borne testimony, and who, on strength of that testimony, has tried to do the best she could for her pupils, whatever may be her own opinion about it-no such teacher has failed of success in teaching, nor, as long as she loves her work and does her duty, can she ever

fail.

I say this, not from any desire either to compliment or to comfort you, but because I honestly think that in this matter I am better able to judge than you are, from the stand-point of a specialist, and with the experience of a laborious lifetime wholly devoted to this subject.

There is another reason why teachers are sometimes suspicious of their own want of success in teaching drawing, when really there are no grounds for suspicion. The work to be done in drawing in the public schools, in order to be successfully and economically done, must be graded for the three grades of primary, grammar, and high

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