of as practical a nature as possible, and from the very general agitation of the subject of manual training, we have another new development which is now, I believe, just three years old, about ready to go alone. I refer to the "made" work exhibited on the tables and done in connection with the work in drawing. I will not say much on this subject for fear of occupying ground that may be covered in one of the papers. The pupil has been making working drawings of things. What more natural and practical than for him to be led to make the objects from his drawings? What simpler and easier method could be proposed for giving a thorough knowledge of working drawings, their value and use, as well as for creating a love for mechanical pursuits? And what better means of introducing manual education into the schools in an elementary form and without expense? It surely will prepare the way for the manual training class or school which is certain to come. Industrial drawing was advocated long ago for its value to all industries. What more fitting than that the teacher of industrial drawing should now, in connection with the drawing, take the first steps in industrial or manual training? If the lowest primary pupil is led to shape objects of clay, to form them with sticks, to cut them from paper, and later to form them of wood, metal, or other material, what is to prevent the pupil from acquiring a love for mechanical pursuits and demanding in earnest the manual training school, fully equipped for the various lines of work? This new feature of our work in drawing will popularize it immensely, and is of greatest value educationally. Another thing showing the value and influence of this department occurs to me. In looking over some former reports of the Ohio State School Commissioner, I find that six years ago in a contribution, I contended that "any course in drawing, sufficiently broad to be termed industrial, should provide for three lines of work: construction of objects, representation of objects, and decoration of objects." Now we find these quite generally accepted terms and the course of study provides for an equal and symmetrical development of each. Formerly the pupil in the lowest primary grade commenced his drawing with the line. Now he is given clay, solids, sticks, and surfaces, which he handles, shapes, or arranges. As soon as a new idea of value presents itself, through such meetings as this, and through our exhibitions, it becomes known and is spread broadcast, gathering strength and force as it goes, like the mountain stream, as it flows on, gradually expanding into the swift and mighty river. May this department of the National Association grow in like. manner. There are many important problems seeking solution, upon which some among us, with our varied and constantly enlarging experience, may be able to throw some light. The questions have sometimes been put to me, "What can we do in drawing in the ungraded country school, and is it of any use to attempt it? What books can we use?" Most of you, perhaps, realize the situation: thirty or forty scholars in one room, ranging from six to sixteen years of age, nearly as many classes as there are pupils, studying everything from the work of the lowest primary grade to that of the high school, and a new teacher nearly every six months. The county superintendents in some states, in arranging courses for their schools, include drawing and are anxious to have it taught. The question is, What of all the varied work the city child gets in its carefully graded and logically arranged twelve years course, should be selected for this case? Were the teacher a fixture for more than a term or two, the question would be of easier solution; or were there properly condensed books and manuals for such cases, it would be different. A teacher of wide knowledge of drawing is certainly necessary in such a position, to properly select, condense and adapt to the case in hand, but in nearly every instance it is some one with no knowledge of the subject whatever. It seems to me that the first requisite is a good handbook, a manual giving the teacher the needed instruction in the three principal lines of work, construction, representation, and decoration, or perhaps better, a manual of each. This should be arranged, not with reference especially to each exercise occurring in a drawing book, but to give the teacher quite full knowledge on the subject with hints on teaching it in various grades. Such a manual would be equally valuable for the normal school student, for those wishing to prepare themselves for examinations in any one of the above subjects, or for the regular teacher of the graded school. There might perhaps be a set of three or four drawing books graded and condensed for such schools. The next step would be to provide as far as possible for the instruction of such teachers, by means of institutes or normal schools. It seems to me that this is a proper subject to refer to a committee to investigate and report at a future meeting. In some states it is They vary from In many states, particularly in the West, county or township institutes. are held, more especially during the summer months. required that every county hold at least one each year. one to six weeks in length, those of one or two weeks being most numerous. They are more in the nature of normal schools than conventions, regular lecturers or instructors being employed, and it is frequently the case that drawing is one of the subjects. The teachers in attendance may be from graded or ungraded schools, and a large number may know nothing whatever of drawing, yet they and the managers are anxious that sufficiently practical work be presented, so that they can go away and do something with it in their schools. I have worked in numbers of these institutes, where there were, perhaps, two lessons a day of an hour each, for five days. These institutes present, in many states, the only means of instructing the teachers of country or village schools. The question arises then, "What are we to do in ten hours' time, with one hundred to three hundred people, who are from all grades of schools, who have perhaps no knowledge whatever of drawing, but are very anxious to carry away enough practical knowledge to be able to apply it in their schools. It seems to me that about all that can be done is to present the subject in the shape of lectures, fully illustrated with pupils' work, or similar work on a large scale, and passing paper and pencil, have the teachers get as much hand practice as possible. One cannot be told how to play the piano; he has got to do it himself. So must one get the pencil into his own hand or he will never have the confidence to stand up before a class to teach drawing. During the session of the institute they should draw all there is time for on paper, and if possible, on the blackboard. The instructor should be careful not to attempt too much, nor to talk too much. Anything the class is able to do will be remembered. That which they are only told about they may forget. I would divide my time something as follows, in an INSTITUTE COURSE OF FIVE DAYS, TWO LECTURES A DAY OF ONE HOUR EACH. 1. Preliminary remarks on character and value of the study-elementary ideas of form developed by handling objects and forming them of clay; use, preparation and care of clay. 2. Handling of pencil. Practice various positions for drawing different kinds of lines, straight and curved; sketching and brightening. 3. Methods of giving lessons,- from objects, blackboard, copy, dictation, designing, arranging sticks and tablets, cutting, analysis of form. 4. Construction,-top, front and end views, sections, dimensions, geometrical solids used. Freehand. 5. Construction,-working drawings to scale; geometric or common objects used. Rule and compass. 6. Representation,- measuring in space. Drawing objects of two dimensions. Elementary principles. The circle, cylinder, cone. 7. Representation,- principles governing straight lined objects. Cube, rectangular prism, triangular prism, pyramid. 8. Decoration,- elementary ideas and principles. Simple variations. Abstract lines and forms used. 9. Decoration,- conventionalism. Natural foliage as material. Modes of arrangement. 10. Résumé,- outline the work of each grade for country, village, and city schools. Character of results; care of material. These lectures, or lessons, should be very fully illustrated with objects and examples, to give as comprehensive an idea as possible in the limited time at command. In an institute of more than five days, the ground covered should be much the same, though it could be more thoroughly done and more time for practice obtained, which is greatly to be desired. There should be carefully prepared manuals in each division of the subject, to which to refer students for more complete information and further study. If the same lecturer or instructor could meet the same set of teachers in an annual institute, for two or three consecutive years, much might be done for the country and village schools. In conclusion, I desire to express my thanks for the honor conferred on me, and to ask your indulgence in the discharge of the duties of President of the department. REPORT OF COMMITTEE ON THE RELATION OF DRAW- At the meeting of the Art Department of the National Educational Association, held at Saratoga, July, 1885, a committee was appointed to consider the relation of drawing to other studies in the school curriculum, and how its use as a means of illustration in this direction may best be promoted. The committee respectfully submit the following report. In the first conference concerning the plan of preparatory work for this report, it was decided by the committee to include "making" in the inquiries, believing that as both drawing and making concern the study of form, any information concerning making would be valuable. The purpose of the committee has not been, however, to consider drawing and "making" as simply drawing and making, but to consider them as means of developing ideas connected with other studies. The committee desire to say at the outset that this report must be ranked no higher than a preliminary to an examination of the subjects presented; in fact, at this time, any report which could be made, could not be much more than a statement of beginnings and experiments. The first work of the Committee was to gather all possible information concerning the actual use of drawing and "making" in connection with other studies. This has been done 1. By circular letters of inquiry.* 2. By personal observation and investigation. 3. By gathering for exhibition a number of productions of actual school work showing the use of drawing and making in connection with other studies as regular class exercises. 4. By collecting published exercises bearing on the subject of inquiry.† CIRCULARS OF INQUIRY. The circulars of inquiry were sent out to principals of normal schools, to superintendents of schools, and to a few special institutions. Owing See Appendix A. + See Appendix B. |
