IMAGE EVALUATION 
 TEST TARGET (MT-S) 
 
 A 
 
 <^.^ 
 
 1.0 
 
 I.I 
 
 1^ IIIM 
 
 M 
 1.8 
 
 
 1.25 
 
 U 1.6 
 
 
 -m 6" 
 
 ► 
 
 V] 
 
 <^ 
 
 /}. 
 
 '<^, 
 
 
 % 
 
 '/ 
 
 F 
 
 Photographic 
 
 Sciences 
 
 Corporation 
 
 23 WEST MAIN STREET 
 
 WEBSTER, NY. 14580 
 
 (716) 872-4503 
 

 {/. 
 
 
 fA 
 
 ;\ 
 
 \ 
 
 c 
 
 % 
 
 'I? 
 
 CIHM/ICMH 
 
 Microfiche 
 
 Series. 
 
 CIHM/ICIVIH 
 Collection de 
 microfiches. 
 
 Canadian Institute for Historical Microreproductions Institut Canadian de microreproductions historiques 
 
 1980 
 
 I 
 
Technical and Bibliographic Notes/Notes techniques et bibiiographiques 
 
 The Institute has attempted to obtain the best 
 origindl copy available for filming. Features of this 
 copy which may be bibliographically unique, 
 which may alter any of the images in the 
 reproduction, or which may significantly change 
 the usual method of filming, are checited below. 
 
 D 
 
 Coloured covers/ 
 Couverture de couleur 
 
 I I Covers damaged/ 
 
 D 
 D 
 
 Couverture endommagde 
 
 Covers restored and/or laminated/ 
 Couverture restaurie et/ou pellicul6e 
 
 Cover title missing/ 
 
 Le titre de couverture manque 
 
 I I Coloured maps/ 
 
 Cartes g^ographiques on couleur 
 
 Coloured ink (i.e. other than blue or black)/ 
 Encre de couleur (i.e. autre que bleue ou noire) 
 
 Coloured plates and/or illustrations/ 
 Planches et/ou illustrations en couleur 
 
 D 
 D 
 
 D 
 
 n 
 
 Bound with other material/ 
 Reli6 avec d'autres documents 
 
 Tight binding may cause shadows or distortion 
 along interior margin/ 
 
 La reliure serr^e peut causer de I'ombre ou de la 
 distortion le long de la marge intirieure 
 
 Blank leaves added during restoration may 
 appear within the text. Whenever possible, these 
 have been omitted from filming/ 
 II se peut que certaines pages blanches ajoutdes 
 lors d'une restauration apparaissent dans le texte, 
 mais, lorsque cela dtait possible, ces pages n'ont 
 pas 6t6 filmdes. 
 
 Additional comments:/ 
 Commentaires suppl6mentaires: 
 
 L'Institut a microfilm^ le meilleur exemplaire 
 qu'il lui a 6t6 possible de se procurer. Les details 
 de cet exemplaire qui sont peut-dtre uniques du 
 point de vue bibliographique, qui peuvent modifier 
 une image reproduite, ou qui peuvent exiger une 
 modification dans la m^thode normale de filmage 
 sont indiqu6s ci-dessous. 
 
 I I Coloured pages/ 
 
 D 
 
 Pages de couleur 
 
 Pages damaged/ 
 Pages endommagdes 
 
 □ Pages restored and/or laminated/ 
 Pages restaurdes et/ou pelliculdes 
 
 Pages discoloured, stained or foxed/ 
 
 I I Pages d^colordes, tachet^es ou piqu6es 
 
 □ Pages detached/ 
 Pages ddtach^es 
 
 0Showthrough/ 
 Transparence 
 
 □ Quality of print varies/ 
 Quality indgale de I'impression 
 
 I I Includes supplementary material/ 
 
 Comprend du materiel supplementaire 
 
 Only edition available/ 
 Seule 6dition disponible 
 
 Pages wholly or partially obscured by errata 
 slips, tissues, etc., have been refilmed to 
 ensure the best possible image/ 
 Les pages totalement ou partiellement 
 obscurcies par un feuillet d'errata, une pelure, 
 etc., ont 6t6 filmdes d nouveau de fa9on d 
 obtenir la meilleure image possible. 
 
 This item is filmed at the reduction ratio checked below/ 
 
 Ce document est filmi au taux de reduction indiqud ci-dessous 
 
 10X 14X 18X 22X 
 
 
 
 
 26X 
 
 
 
 
 SOX 
 
 
 
 
 
 
 
 
 
 
 
 
 J 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - i 
 
 
 
 
 12X 
 
 
 
 
 16X 
 
 
 
 
 20X 
 
 
 
 
 24X 
 
 
 
 
 28X 
 
 
 
 32X 
 
 
The copy filmed here has been reproduced thanks 
 to the generosity of: 
 
 Bibliothdque nationals du Quebec 
 
 L'exomplaire film6 fut reproduit grdce d la 
 gtnArositi de: 
 
 Bibliothdque nationals du Qudbec 
 
 The images cppearing here are the best quality 
 possible considering the condition and legibility 
 of the original copy and in keeping with the 
 filming contract specifications. 
 
 Las images suivantes ont 6t6 reproduites avec le 
 plus grand soin, compte tenu de la condition et 
 de la netteti de I'exemplaire film6, et en 
 conformity avec las conditions du contrat de 
 filmage. 
 
 Original copies in printed paper covers are filmed 
 beginning with the front cover and ending on 
 the last page with a printed or illustrated impres- 
 sion, or the back cover when appropriate. All 
 other original copies are filmed beginning on the 
 first page with a printed or illustrated impres- 
 sion, and ending on the last page with a printed 
 or illustrated impression. 
 
 Les exemplaires originaux dont la couverture en 
 papier est imprimie sont film^s en commen^ant 
 par le premier plat et en terminant soit par la 
 derniire page qui comporte une empreinte 
 d'impression ou d'illustration, soit par le second 
 plat, salon le cas. Tous les autres exemplaires 
 originaux sont film6s en commen9ant par la 
 premiere page qui comporte une empreinte 
 d'impression ou d'illustration et en terminant par 
 la derniire page qui comporte une telle 
 empreinte. 
 
 The last recorded frame on each microfiche 
 shall contain the symbol — »> (meaning "CON- 
 TINUED "), or the symbol Y (meaning "END "), 
 whichever applies. 
 
 Un des symboles suivants apparaitra sur la 
 dernidre image de cheque microfiche, selon le 
 cas: le symbols — ► signifie "A SUIVRE", le 
 symbole V signifie "FIN ". 
 
 Maps, plates, charts, etc., may be filmed at 
 different reduction ratios. Those too large to be 
 entirely included in one exposure are filmed 
 beginning in the upper left hand corner, left to 
 right and top to bottom, as many frames as 
 required. The following diagrams illustrate the 
 method: 
 
 Les cartes, planches, tableaux, etc., peuvent dtre 
 film6s A des taux de reduction diff6rents. 
 Lorsque le document est trop grand pour 6tre 
 reproduit en un seul clich6, il est filmd A partir 
 de I'angle sup6rieur gauche, de gauche d droite, 
 et de haut en bas, en prenant le nombre 
 d'images nicessaire. Les diagrammes suivants 
 illustrent la mdthode. 
 
 1 
 
 2 
 
 3 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
n4 
 

 ECHNICAL EDUCATION 
 
 )/m 
 
 AND 
 
 ndustrial Drawing in Public Schools. 
 
 REPORTS AND NOTES OF ADDRESSES DELIVERED 
 AT MONTREAL AND QUEBEC 
 
 ^ S 744,0^ 
 
 BY 
 
 PROF. WALTER SMITH, 
 
 (South Kensington, England), 
 
 Prirwipal of the Conservatory School of Fine Arts, Boston, Mass. 
 
 Reprinted by the Council of Arts and Manufactures of the 
 Province of Quebec, und i whose auspices the 
 Addresses were DELivERi:D at the Request 
 « OF Teachers and Others. 
 
 
 P^crnttcal: 
 
 GAZETTE PRINTING COMPANY. 
 
 1883. 
 

 '> '■■• ♦ . i\'' 
 
 t:-' 
 
 • t 
 
 > t • 
 § i 4 • 
 
 • . .< • . 
 
 • • • - « . 4 ' 
 
 • , - * • 
 
 • » t . • • 
 
 » • • . ♦ - 
 
 • » • • - • 
 
INTRODUCTION 
 
 The rouiM'il «»f Arts and Manuf'actiiros of tho Provim-e of 
 Qiiohec, lu'liii^ anxicMis to In-infj bofore tho piiblir and tho80 
 engai^ed in teaching tho host thought of mo<iei'n timeH on the 
 Kuhjcct of Industrial Drawing, made an armngomont with Prof. 
 VV^alter Smith [who is an artist traine«l at South Konsington, for 
 twelve vi'ai'H Ht'ad Mastei' of the Leeds School of Art, Knghind, 
 for eh'ven vears State I)ii"e«'toi' of Art Kdueation in Massachusetts, 
 and now Principal of the New Kngland School of Fine Arts, Bos- 
 ton, l^S.,] to give a series of addresses to the puf>lic and to teach- 
 ers in Montreal an<l (Quebec upon such phases of the general 
 (juestion as hedeenuMl of most importance. They were delivered 
 during the months of A[»ril ami May. 1HH2, were well attended 
 anfl i'lithusiastically received. Kepoi-ts and abstraitts of these 
 addresses appeared in the newspapei's, but, as the speeches were 
 generally extemporaneous, oidy abstracts were published. A 
 desire having been expi'essed by teachers and others that the 
 addresses might be preserved in a permanent form, the Council 
 determinecl that the best reconl which could be obtained of them 
 should lie mad{^ available. A matter of so great im[iortance as 
 Industrial Art education i<, deservi's to be seriously considered by 
 all who are anxious for the material and industrial development 
 ot the countiy ; atxl though the records of these speecht^s are im- 
 pei'fet't, they vet embodv the leading ideas which inspired them, 
 and the reports which weie piiblished have been revised in type 
 by the speaker for this pamphlet. * 
 
 In ordej" to [)reserve the practical advice given concerning 
 teaching (of which no reports were made), Prof. Smith has, upon 
 
 61415 
 
4 [NTRODUCTION. 
 
 oiir roquoKt, furnished uh with a copy of the notes from which he 
 spoke, covering instruction din-ing twelve years of nchool life, and 
 thrse notes have been printed as received from him ; the ( Vmncil 
 venture to hope that they will be found of practical use and direc- 
 tion to teaehei's. 
 
 Teachers of public schools, and others interested in this subject, 
 may obtain a copy <jf this pamphlet on application to 
 
 S. C. STEVENSON, 
 Secretary Council of Arts and Manufactures^ 
 
 ♦ Montreal. 
 
 The papers reprinted are place<l in the order of their delivery 
 in Montreal, and repeated in (Quebec. 
 
 1. Industrial Drawing. 
 
 2. Technical Education. 
 
 3. Teaching Drawing. 
 
 4. Household Taste and Principles of Industrial Design. 
 
 5. Notes and Suggestions lor Teachers. 
 
 Montreal, January-, 1883. 
 
 \ 
 
 
 J. - .' 
 
 i''M-\:\ 
 
INDUSTRIAL DRAW^ING. 
 
 LECTURE BY PROP- WALTER SMITH, OP BOSTON. 
 
 [ Reprinted from l/te Montreal Ih, aid qf April 24, 1882.] 
 
 Prof. Walter Smith, Stuto I)ii'oct/)r of Art Kdiiciition in Mansa- 
 chiiHettH, delivered a lecture in the Meehanicn' Hall, at four o'clock 
 on Saturday afternoon, on the subjec' of " Industrial Drawing." 
 There was a full attendance of teachorH from our city schools, U^ 
 whom the subject was of especial interest. Mr. S. C. Stevenson, 
 Secretary of the Council of Arts and Manufactures of the Province 
 of Quebec, briefly inti'oduced the locturtM* to the audience. 
 
 Prof. Smith began by saying that he came with a good deal of 
 pleasure to accept the invitation which had been extended to him 
 to address the teachei-s of this city and province on that specialty 
 in education to which he had devoted his life. Ife proposed to 
 treat to-day on that branch of art education which came under 
 the head of Industrial Drawing in public schools, to distinguish it 
 from the professional education required by the artist as a prepa- 
 - ration for the practice of Fine Art. There was much dirt'ei'ence 
 of opinion with reference to the place of drawing in a public 
 school system ; its usefulness, its practical value in developing 
 the faculties of thought, observation and expression, and its com- 
 mercial value as fitting the hunmn being to be a more useful 
 memb^'r of society, and having higher claims upon society for the 
 employment of his labor and skill. But the idea which led to 
 confusion seemed to be that drawing was taught in public schools 
 for the purpose of enabling the whole or most of the scholars to 
 become artists. Let them draw a comparison between language 
 and the purposes for which it was taught. No one believed that 
 only reading, writing and composition would transform the whole 
 population into literary men ; nor could we expect the teaching 
 of arithmetic to produce a race of mathematicians, though without 
 teaching arithmetic tlie higher branches of it are impossible. 
 
6 
 
 INDTIRTRTAT- DRAWTNO. 
 
 So U?acIiinj[jjor<li"awin^ wan inlcndcd to he tlie foundation of art 
 in all pooplo, lo cultivatt' the tante of all, and lo ho the hoginnin<jj 
 ol the develo|nnent ol ^real (acuities in the few. ft mi^ht he said 
 that drawirj^ wan to art what lan^^ua^^e was to literature, or the 
 ealeulation oliunnhers and proportion was to science, — necessary 
 to education in its lowest phases and practically henefic.ial to 
 Hociety in its highest. ! i 
 
 The question naturally arose, could all learn to draw, or was it 
 the case that only the few have an eye for form? Was it to he 
 helieved that only the few have an ear for music? Let them 
 consider that tlu' eye and the ear were two of the senses,— the 
 senses which were developed in every healthy individual, and 
 developed more sensitively in the child than in the adult — and 
 that the senses tbrm a channel of ctunmunication hetween the soul 
 and the physical worhl outside, and that the eye which was good 
 for one thing was good for all purposes to which sight was 
 applied ; that the enr which was sensitive to one sound was re- 
 ce)>tive of many, and that education and experience make the dif 
 ference hetw(;en what is called the seeing eye and the hearing 
 ear, — those who have eyes and see an«l those who have eai's and 
 hear, and those who having eyes see not, neithei" <lo they hear 
 with their ears. 
 
 So also with the hand ; the hand, the eye and the mind, work- 
 ing in concei't, were nectessai-y for tluf nroductionofa drawing, and 
 the healthy individual, mentally and jdiysically healthy, in posses- 
 sion of a sound hody and a sound mind, had all the natural endow- 
 ment lor learning to draw which the gr'^>t artists in all time have 
 had. This ttatement, he said, was not hased upon shifting sand, 
 hut upon the solid toundation ro(dv of experience in the class-ioom, 
 in the studio, and in the supervision of the works of thousands of 
 individuals during a long peri<MJ of time — a quarter of a century 
 of matured ohservation and practice. 
 
 There was no need to rely on theories or speculations tor evi- 
 dence to support this argument. The actual works in drawing of 
 the children themselves are the material evidence that all people 
 have an eye for tbrm, and are possible artists. Here they are; 
 let us look at them. The drawings which he exhibited to them 
 gave, not the result of instruction of talented individuals or picked 
 geniuses, but exactly 100 per cent, of the children found in the 
 class-room from which they were taken, and where, at examina- 
 
 v! 
 
 i 
 
i 
 
 f1 
 
 
 I.ECTI;RE by prof. WALTER^SMfTII. 7 
 
 tion oxorciscH, thoy weiv perfonnod in a given time by the eliil- 
 dron, alone ami nniiided. 'I'hesc workw diHpiayod as niucli average 
 power in drawing aw an exercise in writing would display an 
 average power in penn)ansl)i|). lie ((lie lectni-er) had been 
 teaching drawing tor thirty years, and he ha<l heen on the 
 search during the whole of that time for the human creature 
 who wafl hoth willing and anxious (o lea<'n how to draw, ami 
 yet unable to learn through sonic deticioncy ; and ha<] found 
 that he was able to say that unless a child was physically in- 
 capacitated by blindness oi* j)aralysis, or mentally incapacitated 
 by lunacy or idiocy, every child wais able to learn to draw, 
 and he said so because, if there had been smdi an individual 
 as was by nature incapable of learning to draw, he should, in 
 his great experience as a teacher, have been able to tind him. 
 
 But it was the case that the longer they jiostponed the ef!brt 
 to learn, the harder it was for them. 
 
 Tliis applied to all othei* subjects as well as drawing ; the 
 neglected sense of sight became dull, and did not develop into 
 the faculty of true vision. And so with drawing; the hand 
 which had lost its delic^acy ot' touch becomes a duller instrument 
 and hanlei' U) use. 
 
 Then, foi' those who were teachers, came another important 
 tpiestion. Kvery teachei' who was comp(;tent to teach writing 
 and arithmetic must, ot necessity, be competent to teach draw- 
 ing, if they chose to make the ettort and try with the same 
 patience concerning this as they felt called upon to exercise 
 towards their ympils in other branches «)f study; and not only 
 that, for it had been demonstrated by experience that the 
 teacher who was a beginner in the study and practice of draw- 
 ing was a better teacher for the young children than the 
 expert who had gone beyond the elements and become dissatis- 
 fied with them, and less patient in teaching them than he would 
 be in teaching the most advanced branches that he is, perhaps, 
 daily practising himself. 
 
 He claimed that he (the lecturer), though only a teacher of 
 a specialty in education, that of art, could not produce such 
 healthy and safe results in teaching di-awing to a class of young 
 children as the teacher who had begun to study the subject only 
 a few weeks before he had undertaken to teach the elements. 
 
 The word industrial, as applied to drawing, required explan- 
 ation. Drawing had been taught in private classes and in draw- 
 
8 
 
 INDUSTRIAL DRAWING. 
 
 ing cloHHes in years gone l>y, rather as an amusemenl to occupy 
 Idle houi*8, or for the purpoHe of producing pretty picturcH, by 
 those who had nothing better to do. About Huch drawing there 
 was no partiiHilar character; it did neither harm nor good, it iiad 
 no definite tendency, edu(rational or artintic, becaune those who 
 began in the middle of a Hubject at once producing |)oor little 
 pictures, never arrived at the end of a Hubject ]))*o<lu(ung great 
 pictures, or expressing matured thoughts with great skill. 
 
 On the other hand, industrial drawing, though less interesting 
 to the pupil who claims to have taste and talent and genius, 
 because it is more disciplinary and pursued with a more definite 
 tenden(\y to usefulness, could be taught tf) all who would be 
 engaged in any branch of constru(!tive industry, and wotild assist 
 the artisan in the woi"kshf)ps to be a moi-e economical workman, 
 to use his material to better lidvantage, to produce a more taste- 
 ful object, and would, therefore, make him of more value to him- 
 self as a laborer, more profitable to his employer and a better and 
 a more ])roductive individual to society. 
 
 And this should be a guide as to the (jharacter of the di-awing 
 taught in our public schools. If it helps industry, increuM^^s the 
 value of gocxls produced, elevates the taste of the commimity and 
 promotes the interest of individuals, then it is practical and indus- 
 trial. If ever in theory, or desire to please pupils, it became mere 
 amusemerit, then it should have no place in the public sch(M)l 
 system. 
 
 There were two distinct branches of drawing of value — the fii-st 
 is called scientific and the second artistic. Scientific drawing was 
 the basis of all industrial art ; it enabled us to do good and truth- 
 ful, permanent and trustworthy work. It was that phase of draw- 
 ing usually called mechanical or instrumental drawing, and was 
 pursued by the help of instruments of various kinds, enabling us, 
 lor instance, to plan a house accurately, to express perfect taste 
 in its architecture ; to show sound construction in its building. 
 And so engineering, surveying and ship-drafting were all instru- 
 mental, scientific work. 
 
 The other department, that of freehand drawing and design — 
 was essentially the artistic branch of drawing, and any system or 
 scheme which only developes one-half of this whole subject was 
 imperfect, and to that extent impracticable. 
 
 They should therefore recognize that, to be thorough, children 
 should be taught not only the exactness and accuracy which comes 
 
LBCTTTBE BY PROP. WALTER fiMTTTI. 
 
 9 
 
 from Hcionce, but the variety and beauty which como iVoin the 
 cultivation of the tante and the cxcrciHO of the free hand in ox- 
 preswin^ what the senHitive eye obHerves. There were two 
 branches of drawing which wore to l)e taught to children and 
 practised wholly without the helj) of mechanical aids, whether 
 the exorcise was being peribrniod upon slates in the lower classes 
 or paper in the higher, or upon the bhicklxjard by pupils in all 
 the classes. These branches were the free hand drawing of orna- 
 ment from copies and from objects without the help of nu'asure- 
 ment and without resort to a rule, and without retpiiring too high 
 u standard of nuiinial attainment in the pupils. 
 
 Two other branches should be taught entirely with the use 
 of instruments both by teachers and pupils — geometric drawing, 
 which was the alphabet of all t'onstructive industry, and perspetv 
 tive, which was the art of representing forms of regular bodies a.^ 
 they appeared to the eye; the first giving us the fact, the seconu 
 the appearance of the tact ; ar* 1 : tsigning, which was the practi- 
 cal embodiment of ideas for the purpose ai manufacture. Kvery 
 aid, mechanical or artistic, which could be employed to pnxluce 
 a design, should be resorted to both for economy of time and the 
 accuracy in workmanship recpiired in [)ractical art. 
 
 Other branches of drawing might require the use of both free 
 hand and instrumental practice, or of either alone, and it is 
 optional whether, the latter or both associated^ should be adopted 
 by the teacher. 
 
 Another practical question was, who was to teach this subject of 
 industrial drawing to every pilpil, and he would say that every 
 pupil in every school had the same right to instruction in it as any 
 pupil in any school. How were these vast numbers to be taught ? 
 The only answer which could be given to such a question was that 
 the regular teacher should teach the elenuntsof every department 
 of education, and they should give instruction in this also, because 
 it was the most certain way of having such instruction as begin- 
 ners required in the elements of art. This was not a tht u'etical 
 statement oidy ; it was the result of close obsei'vation upon a large 
 number of individuals in all the schools in a great city and State. 
 Where the specialists had been employed to give instruction in 
 the same branches of drawing that had been taught by the regu- 
 lar teachers in similar classes, the best results had always been 
 produced by the regulp.r teachers. And this was iiot the fault of 
 the specialist, but the error of makinij a specialty of an elementary 
 
10 
 
 INDUSTRIAL DRAWING. 
 
 branch of inHti'uction. The greatest lesson which the teacher 
 liad to learn in teaching childi-en, whether the subject be art in 
 its elements, or literature, or mathematics, was o give the 
 instruction in very small doses, frequently, and without finding 
 much fault with children if they appear sometimes to be dull. 
 The bright children should rnther be hold back, and the stupid 
 cliildi-en, if there be any that might be so described, should have 
 a special claim on the teacher's ])atience and care, so that they 
 might have the benefit of the instruction which was provided for 
 all, and riiffer nothing from personal characteristics cither of 
 brightness or <lullness. 
 
 It should also be remembered that the element of time in edu- 
 cation was a ])racti('al and solid element which could not be dis- 
 pensed with, and they could no more get fifty years of educational 
 growtii in the child in the space of five minutes, than they could 
 fifty yeai's of growth in an oak ti'c • in five minutes, however 
 subtle thcii- cultivation might be. 
 
 lie cautioned them to have patience with themselves when they 
 undertook to teach this subject; they should have the faith which 
 is said to be able to remove even mountains. It should be said of 
 the teacher as of the woman in the old story, " Great is thy faith ; 
 be it unto thee even as thou wilt." 
 
 Prof Smith also exhibited some specimens of drawing done by 
 pupils between the ages of 9 to 15 years, and also some done l)y 
 pupils between the ages of 15 and 18 years, both having been 
 taught by regular teachers. Some specimens of drawing by pupils 
 fi-om 15 to 18 years, who had been taught by special teacliers,were 
 also shown ; and it was noticed that the drawings of the youtig 
 pupils, who had been taught by regulai' teachers, were superior ♦() 
 the drawings of the older pupils who had been taught by spe- 
 cialists. 
 
 The Professor will continue his remarks on this subject for the 
 benefit of teachers, at four o'clock this afternoon, when it is 
 expected there will be a large attendance, lie will also lecture 
 on " Household Taste," in the Mechanics Hall, at eight o'clock this 
 evening. These lectures are all i'ree, and all lovers of education 
 should avail themselves of this rare opportunity. 
 
 
 I ji.i 
 
 ' fS M ■ 
 
TECHNICAL EDUCATION: 
 
 Its Position in a Public System of Hducation. 
 
 l>eeM 
 pils 
 
 <po- 
 
 is 
 
 ture 
 
 It his 
 
 tion 
 
 LECTURE BY PROP. WALTER SMITH. 
 
 (Reprintrd from the Montreal Gazette of April 20/A, 1882.) 
 
 Prof. Walter Smith, late Art Afastor, Soutli Krnsiii<^t()n, and 
 State Director of Art Education in Massachusetts, delivered the 
 last lecture of iiis present series on Industrial Education, urider 
 the auspii^es of the (-ouncil of Arts and Maiiufacturt^s of the Pro- 
 vince of Quehec, in the Mechanics' Hall last evening. There was 
 a large audience. Col. Stevenson occupietl the chair, and brietly 
 introduced the lecturer. 
 
 Aftei" some pi-eliminary remarks concerning the general scope 
 of Ids visit to Monti-eal, the lecturei* addressed his audience as 
 follows : — 
 
 The nineteenth century is essentially that of the scientist, the 
 age of j)hyaics, the practical age, just as in other centuries there 
 has been the age of the shepherd, the wai'i'ior, tlu- ])hilos(>plK'r, 
 the ]K)et and the ai'tist, the crusader and chui'chinan, the specu- 
 lator and ratioiuilist. To-dav the men who attract the woi-ld's 
 attention are Krupp and he Lesseps, Armstrong and Whitworth, 
 Sir ilugli Allan and Sir Samuel ('unai'l ; lor this is (Jeoi'ge Ste- 
 phenson's and Napoleon's centuiy — the jiractical, scientific age. 
 Only yesterday Darwin was Ituried in Westminster Abbey, fol- 
 lowed by a nation to his last and glorious resting place, and ju-o- 
 bably among those mourning foi'his loss were lluxlry and Owen, 
 Proctor and Tyndall ; and if we might Judge of what is pi'obable 
 from what has happened, the august sovert'ign who beneficently 
 I'ules these kingdoms, dominions and empires, and not more surely 
 rules their governments than she does the hearts of her subjects, 
 would not be unrepresented when a great man had fallen and was 
 being enshrined in the national mausoleum. 
 
u 
 
 TECHNICAL EDUCATION. 
 
 The early and the middle ages were the centuries of the 
 scholar, the linguist, the ecclesiastic, of the (ireek and the 
 Goth; and this is the age of the working man, the scientist, — 
 and it is actually beoomiiig dangerous in this century for any 
 man to admit tl\at he does nothing for his own living. The 
 old universities have done their great work all this time, pro- 
 tected civilization and perpetuated the gentle influences of 
 culture and scholarship, producing for us professional men 
 and statesmen, and im)»osing on the wealthy the restraints 
 of a cultivated responsibility. They have furnished during past 
 and present centuries the technical education of the wealthy few 
 and of the rising and ambitious people. But they have not sup- 
 plied us with the opportunities nor the men which are required 
 in this age of the steam engine and electric telegraph and of ocean 
 steamships ; nor have they, in recent times, done anything to 
 bring themselves into line with modern requirements in this 
 direction of a demand for technical education in science and art. 
 And it is perhaps just as well that besides a little amateurish dil- 
 letantism in art, which has been attempted in some of the old 
 univei'sities without much good or harm, they should let the 
 modern practical education alone and stick to their classics and 
 mathematics, tiie dead languages and abstract reasonings, for the 
 education of the clergyman, lawyer, doctor and others. All honor 
 to them for the shield which, in doing this, they have held over 
 progress and civilization in all ages since they have been estab- 
 lished. 
 
 But education must follow in the wake of the great changes 
 which modern inventions have brought about. Steam has 
 revolutionized the whole fabric of society, and is now opening 
 up every crook and corner of the world, making new occupations, 
 creating a demand for labor to till the silent wilderness, opening 
 up countries and tying even nationalities together in fraternal 
 bands of ii'on, which, let us hope, will never be broken. Never 
 was there such a demand made on human capacities for new labor, 
 new thought, new habits, as this invention of the steam engine, 
 loco.notive and railroads, in this age has required of us, scat- 
 tering us all over ♦^he woi'ld and necessitating the adaptation of 
 ourselves to new conditions, abolishing many occupations and 
 creating new ones for each abolished ; opening up markets in 
 distant lands, and changing home markets ; and so transforming 
 the habits of people in all civilized countries that we are all prac- 
 
LECTURE BY PROF. WALTER SMITH. 
 
 13 
 
 <tal)- 
 
 lons. 
 
 ever 
 bor, 
 pne, 
 
 cat- 
 n of 
 
 and 
 tH in 
 
 ling 
 |>rae- 
 
 tically new races. It is only what we should expect, that such 
 wholesale changes should somewhat change the nature of the edu- 
 cation required by the people. 
 
 The old classics and mathematics may be a comtbrt, but 
 they arc not of much use to the pioneer in Australia or the 
 settler in British Columbia. And when a countiy is in danger 
 of losing its chief trade with the rest of the world, because it 
 it has stood still while other countries wci'c progressing, it is 
 not so much a knowledge of the neatest tbrm of hexameters, or 
 Greek i-oots, that will bring back the business and prosperity 
 of the people, as the skill of the inventor, the taste of the designer 
 and the enterprise of the manufacturer. 80 we need the modern 
 university as well ats the old; where the engineer, the architect, 
 the scientist, the manufacturer, the mastei* workman in every 
 branch of human industry required and |iursued in this steam 
 engine age, may obtain a thorough education to tit him for the 
 practical business he will at some future time be engaged in. And 
 this demand has created the supply. At South F^^ensington in 
 England, at Leeds, Birmingham, Manchester, and many other 
 centres, great technical universities are springing up. The City 
 of London Guilds and Corporation are just now erecting a tech- 
 nical school at South Kensington that will some day be the glory 
 of the world, thus allying that ancient city and corporation with 
 the advance of modern thought, andpi'oving that old and wealthy 
 as it is, the metropolis of the world has yet a youthful spirit and 
 knows how to use its wealth for the benefit of the empire of 
 which it is the great centre. Private enterprise and munificence 
 are also at work for the benefit of the public, and Mason and 
 ilolloway are Just now starting on their great careers of useful- 
 ness, establishments for the promotion of technical education, 
 which dwarf by their extent and magnificence even national action 
 in the same direction. 
 
 It is time, therefore, for every country to consider whether 
 it can afford to sttmd still and watch this movement only, 
 and do nothing for itself. When the whole world is mo*. jng, 
 the stagnant country is rapidly drifting to leeward, and will 
 soon find itself out of the race of pn^gress. I beg to draw 
 the attention of the publicists in this country to the state- 
 ment which 1 have many times made on the other side of tho 
 frontier, namely, that it is not for th benefit or the happiness of 
 a people to roiy wholly on agriculture as a moans of support. 
 
14 
 
 TECHNICAL EDUCATION. 
 
 There Ib no profit and no honor in being the hewers of wood and 
 drawers of water for the skilled nations ; no prospect of improve- 
 ment in continuing to provide for them the raw material of the 
 arts at a low pi-ice, and purchasing from them the manufactured 
 goods at a high piice. We employ six men to raise cattle, corn, 
 coal, oil, lumber for the skilled peoples, and they send us back 
 some of our own products turned into wealth to pay for ouj' raw 
 matej'ial, iu the proportion of the labor of one man who works 
 with skill, paying for the labor of our six men working without 
 skill. We cannot even tonlay pay for the labor of one Parisian art 
 workman foi- a year, by the products of the labor for a year of 
 any six unskilled workmen engaged in the whole Dominion of 
 Canada. This is not political economy. It may be incidental to 
 a new country, but what is being «k>ne to reniedy this condition 
 of things? Is it to last forever? Jf not the remedy must come 
 by recognizing the evil and pi-oviding by careful forethought an 
 element in our systems of education tor the recognition of indus- 
 trial art and skill. 
 
 The public day schools otter Lo all the benetitss of a gcneial 
 elementary education, available to all, and to a genera' <iegree 
 enjoyed by all. Academies and colleges and the schools of 
 religious bo<lies continue this genci-al education of the wealthier 
 classes, until the universities and the medical, theological and 
 law schools complete their opportunities for a technical educa- 
 tion to tit them for the professions and practical lite. The 
 general elementarj^ education is to develop natural tacultics, an<l 
 give a broad basis for the future supej-structure, the special edu- 
 cation in which the individual is taught to apply what he has 
 already learned in a particular direction. The public day schools 
 do the tirst for all, and the higher schools and professioruil schools 
 do the second for some — the well-to-do and the wealthy. But 
 where is the secondary school which does for the mass of the 
 people known as the artisan and laboring classes, what the uni- 
 versity, college or professional schools accomplish for the U[)per 
 classes ? Can we art'ord to break ott' the education of the me- 
 chanic an<l laborei- when as a mere child he leaves otf his day- 
 scliool instruction ? What does a boy of fiftetm know, if he then 
 leaves school and goes to work ? lie is simply then the raw 
 material of an educated man, and if there are no further oppor- 
 tunities given to him to continue his education, even whilst pursu- 
 ing his work, he will never become in any sense au educated man 
 
d and 
 prove- 
 Dt' the 
 I'tured 
 
 corn, 
 s Imck 
 ill- raw 
 works 
 nthout 
 ian art 
 ^oar of 
 nion of 
 sntal to 
 n<lili<'n 
 ;t come 
 ight an 
 
 indus- 
 
 iTcr 
 
 leral 
 (lo<^roc 
 »ool« of 
 ualthior 
 al and 
 ediR-a- 
 IMic 
 u's, and 
 ial eilii- 
 ho has 
 [schoolH 
 .schools 
 Hut 
 of the 
 Itlio iini- 
 ', upper 
 the nie- 
 118 <Uiy- 
 he then 
 he raw 
 oppor- 
 |t pursu- 
 3d man 
 
 LECTURE BY PROF. WALTER SMITH, 
 
 15 
 
 Yet it would be untold wealth to the country, andof indoncribable 
 benetit to him, if he could have an good a chance to continue his 
 education from the general to the special or technical, that the 
 young doctor, lawyer and clergyman already possess. 
 
 We cannot shut ourselves out from the rest of the world in these 
 days. They will com])ete with us whether we like it or not. The 
 world is a very small place nowadays, and a manufacturer in Paris 
 and London and Berlin is this moment competing with one of our 
 own manufacturers in the next street, and will beat liim i)ecause 
 he is more skilled, has better workmen, has a more steady de- 
 mand from a cultivated public ibr his goods, and can therefore 
 afford to put more work, skill anil beauty into them, than we can, 
 or even know how to do. We are assembled in Mechanics' Hall, 
 and mechanics' institutes, young men's institutes, evening draw- 
 ing schools and some technical classes have long existed in the 
 several provinces of this J)ominion, and have doubtless here, as 
 elsewhere, done gieat good. But permit me as one who has 
 watched this great (question in another country similarly circum- 
 stanced to this, to say to you with all frankness and good intent, 
 that these private or semi-public organizations will not provide a 
 national remedy for a national deficiency. The question is too 
 great, the matter at stake is too important to trust it to the 
 efforts usually feeble and often intermittent, of the tew. 
 
 Mechanics' institutes did great work in Kngland, though for a 
 long time they were considered failures, because they did not 
 attract and hold vast numbers of young men in their science 
 and art-class rooms. They began in the middle of the educa- 
 tional fabric, supplying a secondary education before a sound 
 primary education in public schools was obtainable by all. But 
 in another sense they alwi^.. succeeded, for they demonstrated 
 the need of a national and well organized system of public in- 
 struction, and prepared themselves to follow it up by tec^hnical 
 education, as soon as the artizan and laboi'er were prepared by 
 general knowledge to be so instructed. And now they are being 
 successful, theii" class-rooms are filled, and the unskilled English 
 artizan is rapidly following the dcxio and other extinct creatuies, 
 and the English mechanic is an educated man. 
 
 The same thing is not true of the Dominion as was true of 
 England when Lord Brougham and J)r. Birkbeck oj-iginated 
 mechanics' institutes, for Canada justly prides herself on her 
 public school systems. But it is true that the schools of design 
 
16 
 
 TECHNICAL EDUCATION. 
 
 and evening classes now in existence here, are not as widely 
 successful as they will be, when the Dominion Government takes 
 up this question of technical education, and takes it up in the 
 samci way i\\v home Government did after the Sadowa of P^nglish 
 competition with the woild in skilled manufacturcH, which hap- 
 pene<l in 1H51, at the Hrst great exhibition in London. The prosy 
 Board of Trade in London had been appealed to in 1836 by the 
 Knglish manufacturers to establish Hchools of design to elevate the 
 products of English mills, and create a corps of skilled designers. 
 Notice thiit the movement came from trade and commerce, not 
 from artists and teachers. It was not a sentimental demand from 
 theorisci's, but a practical request from business men. In 1851 there 
 were 10 schools of design in peration, and the concours of the 
 world showed what they were]worth as agencies for the elevation 
 of [Miblic taste and the promotion of good design. Nineteen 
 schools teaching, and teaching very imperfectly a few thousand 
 workmen, in a population of many millions, could not bo expected 
 to have done much, and it was proved they had done compara- 
 tively nothing. 
 
 Then the British manufactiM*ers were worsted and humiliated 
 by Fi-ench taste and skill. Then was Waterloo avenged in 
 London, and the sword which failed to do its horrible work 
 at Mont 8t. Jean turned into the ploughshare and pencil at 
 Hyde Park was triumphant and victorious. With bowed head 
 and a sense of national humiliation the English critic* pursued his 
 way through the French department, recognizing sujjcriority in 
 skill and beauty on all hands, to what he had seen in his own sec- 
 tion of the display ; a id willing, like a true man to acknowledge 
 it, and help to place a laurel wreath of victory on the brow of the 
 nation, which had \vA always triumphed over his people. 
 
 In the mind, however, of the true patriot it is as honorable to re- 
 cognize defeat and applaud the victor as it is to strive for peaceful 
 mastery in future contests ; for no one but the blind bigot who is 
 not fit to be a leader of men ever shouts " my country, right or 
 wrong." That is not a form of mind to be trusted which shuts its 
 eyes and crows when badly beaten, or continues on the wrong 
 road, the road to perdition, simply because it is already on the 
 Journey. No. Led by that great !nan, Prince Albei-t the Good, 
 the consort of our beloved (^ueen, the nation went to work to 
 remedy past deficiencies, to provide for a national system of edu- 
 caLion in elementary art and science, and to sustain the civiliza- 
 
LECTI'RE Bf PROF. WALTER SMITH. 
 
 17 
 
 (ion of the country at its wojikoKt point. Kvcry child was to be 
 taught how to draw; ovt'ry talentod l)oy or girl was to have a 
 chance; every sti-ay i^cidiis was to heearet'ully hnshande<l ; every 
 njechanic to he iijiven the (dioice of whether h(^ would spend his 
 eveninu;s pi-otitahiy in a school of art and science, or waste it at 
 street corners or even in more [)ernicioussurroiin<iings. And the 
 nuisterpieces of the world's concours were piirchase<l and kept in 
 London, as nest c<rj;s for future use. 
 
 ?^r<' 
 
 Thus, practical men lai<l hold of a |)ractical question ; not by 
 sii:;hing or waving the Union .lack, as sham patriots woul<l. but 
 by the tirst steps in the ]»ath \'hich led to future triumphs, when 
 
 th 
 
 real pati'ir)ts could float tlu' Hag of coiu[uest over a TiK)usana seas 
 of industry, without shame and with becoming pride — and that 
 day has ai-i'ived. And so to-day in (*anada we want to recognize 
 that in this young country, one which is an infant giant, looking 
 lorward sdivady to a great place in the future roll-call of nations, 
 we want to remembei* that there is nothing grows which is not 
 sown, no etfect without a cause, that no nation evei* became great, 
 wealthy and strong by accident. We shall I'eap that which wc 
 sow, and if wc sow nothing we shall I'eap nothing, either in the 
 domain of agriculture (U* in the tield of political economy. 
 
 The whole matter of technical (education is an economical 
 question, it is not a mere sentiment, but intens'ly practical. The 
 wealthiest nations to-day are France and Kngland,th8 two peoples 
 who have done the most for education in art {ind science. The 
 strongest nations ai'e always, indeed, those who have made the 
 Avisest pi'f>vision for the education of their childi-en, to develop in 
 them a skilful, learned, just and fearless manhood ; and such 
 nations as do this will never grow old, but preserve a perennial 
 3'outh of progress and greatness. 
 
 Perhaps you will say that, l)eingan economical (juestion, it does 
 not Itelong to the domain of a teacher such as I am. But, I reply, 
 it does belong to me and you and all of us as citizens. It is, 1 
 allow, essentially a statesman's (piestion, and that is why in 
 England the greatest mo<lei"n statesman, Prince Albert, took it 
 up so enthusiastically. Whilst the nominal statesmen and politi- 
 cians were s(puibbling about who should vote " in a rotten borough, 
 or so," as Tennyson ])uts it, he was, in the face of much misre- 
 presentation, (juietly lading the foundation for a movement which 
 quadrupled the values and j)i'oductivity of the manufactures of 
 England. And all this in opposition to levity and misundorstand- 
 
 B 
 
18 
 
 TErHNICAL EDUCATION. 
 
 ini^, displayed by many in high fiositions. That is what I consider 
 a statesman's action, as diHtingiiished from the acls of a more 
 popularity hunter — the far-seeing conduct of a thinker, as con- 
 traste<l with the trimming of ])arty leaders — working for the 
 good of a nation among those who wei'c always jealous and some- 
 times hostile. 
 
 It would covei' a man with glory to have done nothing else than 
 create the scierue and art <le|iai'tment of the English system of 
 education, for that has led to a development of her productivity 
 which is simply marvellous, doubled her exportations of valuable 
 manufacturtis, and (luadrupled h'^r wealth and in<lependence. 
 
 I have watched the uutblding of this wonderful scroll of national 
 history, an<l to some extent had a share in it; am therefore an 
 eye-witness of the ti'ansformation brought about in this age by 
 the wise foresight of a true thinker, and it is a rare pleasure to me 
 here this day to bear my testimony to the wealth of evidence 
 which has already placed a national monument in {\\v. Knglish 
 Capital to the great benefactor who bi-ought all this about. May 
 his memory bo ever as gi'een in the hearts of the people as the 
 grass round his mausoleum now is in Hyde Park. .^.^ 
 
 We want to-day a statesman who will do for Canada what 
 Prince Albert did for England ; develop its natural resources and 
 make skilled its iniskilled labor; stop all her impoi-tations of 
 manufactures by making her own products superior to any that 
 can be bought outside the Dominion, and though it may not l>e 
 done in a moment, if the foundations be well and truly laid, there 
 will come a time when the flowing tide of ijivasion from Franco 
 and England will be rolled back by native supei-ioi-ity, and the 
 ebb tide t)f exportation of the products of luitive skilled labour 
 will succeed. I^rotcction is Avell enough when it protects. There 
 is need to protect children when growing, and that is why 
 Providence provides them with parents, 1 suppose. ..»..,.-^"^' 
 
 Fiscal laws will, must, ought to protect the industries of a coun- 
 try until they can j'un alone. But there is a higher, safer and 
 more unassailable protection than taritls, and that is superiority 
 to the assailing party. There is no need to protect strong men 
 from weak ones, for when they became men they put away such 
 childish things. And when this nation shall have become strong 
 on its feet, as it must and will, this(>hinese wall of protection now 
 built up in the custom bouses will be thrown down from inside, 
 and Canada, resting on. her broad lands and in her well-established 
 
 / 
 
LKCTFRE BY PROF. WALTER SMITH. 
 
 19 
 
 ^un- 
 Lnd 
 
 •ity 
 
 hen 
 ich 
 )ng 
 low 
 |de, 
 led 
 
 factories, will open out hei- gatoM and May to all who want to trade 
 with her, all nations who long to croHs Hwordn with her in the 
 peaceful contests of art and Heience, "Come, and <'omeifyoudaro." 
 
 Whilst I do not ohjoct to the present sort of protection, which 
 Heerns to ho so popular, and apparently s(> necessary, ! would 
 supplement it l»y this other sort of jirotection which will in time 
 make every other l<in<l unnecessary. AV^ho is to do this great 
 work for Canada? We have seen the tbrniati(»n of a Canadian 
 Royal Academy. When is the Science and Art Department of 
 ( 'anada to come? Who shall do for the Dominion what Prince 
 Alhert did for (Jreat Britain? It cannot be self-creative. It is 
 not of suflficient consequence to any one Province to do it, affecting 
 the whole productive })0wers of all the country. It seems to me 
 that the (Jovernor-lJeneral, the Mai"<iuis of Lome, might thus pro- 
 fitably follow in his gi-eat father's footsteps, tor the time has surely 
 arrived when a forward movement must be made. It is however 
 a financial (juestion, pure and simple, whatever incidental aspects, 
 intellectual and patiiotic, it may assume. The Pinance Minister 
 who looks forwai'd to the fierceness of foi'eign competition with 
 native manufactures, may well and seriotisly consider the subject 
 as being in his department ; but whosever business it be it must 
 be somebody's business to pi-otect the future industries of the 
 country in the same wise way as that which enables England to 
 face the world's competition with open ports and send her nuinu. 
 fact ures into every land through closed gates. 
 
 Now I want, to make a plea for education in art and scieiice, 
 which together may be called technical education. Education 
 paj's. We recognize this by our public school systems, which pro- 
 vide a general education for the people. We recognize its moral 
 advantages b}' building churches and keeping up Sunday Schools, 
 and we admit its commercial profit by the way in which we re- 
 quire all the more intellectual vocations to teach their members. 
 The very safety of a nation depends upon its skill, not on its na- 
 tural strength or geographical position, an<l skill is the I'esult of 
 ti-aining, not an endowment of nature. It is the brains of a nation 
 which ])rotect it, not the bricks or gi-anite in its forts, and the 
 gatling gun and i-ifled ordnance and armor-plated monitors of the 
 skilled nations cannot be successfully met by the flint-gun of our 
 ancestors, nor the good feeling which we ought to have to our 
 neighbors. No country ought to allow itself to be out-educated. 
 There is danger in that direction. 
 
20 
 
 TErHNir.M, EDITATION. 
 
 Given a fu'jilthy, htron^ man, what can wo do with him? That 
 • loponds on what we liave (h»ne with him an a child. It is too 
 hite t<» h('t;iii when his hahit.s are formed and the natural jjowers 
 ot'a('([iiiiMn^ new tilings are dullyd hy want of use. Hut wc ean 
 ])rovi(le ajj^ainst a repetition of the mistake made, if hy I'lianee we 
 should Hn<l our a<lidt man, not having heen pro|)erly trained and 
 educatt'd in his youth, is not so protitahht a citizen a* he might 
 I —either for himself or to society, lie has two weapons tor 
 work, his j»liysiial strength and his ingenuity, t!uit which nature 
 gives him and that which we <ievelo|) in him hy education. If ho 
 possesses tiie tirst without t.lie second, he is but a poor cj'eature : 
 for steam and ma«-hinery have together almost monoj)oli/,ed the 
 field of work without skill. If he possesses the second, it will 
 almost compensate for the ahsencoof the first, or certainly render 
 tlio first of no ahs(»lute lu'ccssity. Both comhined in awv man 
 make him nuister of the situation. 
 
 Let us see how the account stands helween lahorand skill. We 
 are horn to labor of various kinds, and labor is but the applica- 
 tion of force either with skill or without it. Lal>or without skill 
 is the same as bn.te force, or the thoughtless work of machinery. 
 If human l)eings are only trained to apply this force which 
 they have in common with other aninuils or machines, then their 
 labor is comparatively worthless, one horse being cquai to three 
 men, and one steam engine supjdied with coal ami water doing 
 more than five hundred men could, and (h)ing it without fatigue 
 or any kind of distress. So the mere brute fi)rce in us expended 
 in labor without skill is a very valueless sort of thing. 
 Skill, however, employed in creative industry, lestoren 
 the balance of power in favor of iuiman beings over 
 beasts of burden, or even the steam engine. Skill may 
 double, quadrui>!e, or even centu])le the value of a human beings 
 labor. For example, suppose the labour of a house painter be 
 worth $1 per diem, laying a coat of white |)aint ; the labor of the 
 Bkilled painter of pictures may be worth from $50 to $100 per 
 diem, according to his skill. Suppose a man who saws or splits 
 wood for the fire to be worth fifty cents a da}', the man who 
 splits it in very small pieces, and who is called a wood-carver, 
 may earn $50 a day with loss trouble and moi'o pleasure. Just in 
 proportion then as our labor is performed with skill, it becomes 
 less laborious and more valuable, and in the ratio that it lacks 
 skill it is more onerous, less productive and less valuable. The 
 
LKCTIIRE BY PROF. WALTER SMITIT. 
 
 21 
 
 or 
 uiy 
 
 liT S 
 
 be 
 
 her 
 [its 
 
 ler, 
 
 in 
 
 108 
 
 [ks 
 he 
 
 acquisition of Hkill is tliercf'oro the multipiiciition of power, ami 
 tliis is of as niueli importance to society a« to each individual 
 composing society. One i^i'eat reason why manual or physical 
 work is so generally looked down upon, is because it is so often 
 the nieredrudgery ol' unskilled persons. Make the manual work 
 as much a matter of skill as is that of an ai-tist, and then labor 
 becomes dignitied in the sight of all men. Hut a man harnessed 
 to a dump cart is a little less dignified and several times les.s use- 
 ful than the sorriest of horses, lie is employing those faculties 
 in himself which are the le;ist valuable and the least powerful, 
 and throwing away the best and the strongest. By every step 
 in education whi(di increases a human being's skill, he is propor- 
 tionately removed from a mere animal condition, made a more 
 profitable servant to him-telfand society, and a happier and better 
 man. - 
 
 The great want of this country to-day is skilled labor, that 
 is economic power ecjual to that which enriches some countries 
 ' of the <)ld world. The onl}' way in which it can bo generally 
 secured, is by the teaching of industrial drawing in the public day 
 schools, and giving technical or secondary education in evening 
 schools. J ]?)pocial art schools may do much in the continuation of 
 the instfuction given in the public schools without such a basis 
 of instruction, the establishment <>f special drawing schools is a 
 waste of money and will end only in disappointment ; with it they 
 are a necessity to presei-ve the good already done. People who 
 know nothing about this industrial problem talk about taking 
 away drawing from the list of studies in the public schools as 
 being unpractical. How practical they ai-o as Judges ma}' be esti- 
 mated bj' the statement that the wealthiest countries in the world 
 today are those in which drawing is taught in the public schools, 
 and the boy or gii-l who can draw well can earn twice the amount 
 of wages by practising it, that they could in applying their know- 
 ledge (obtained in the public schools) of any other subjects. 
 
 If this increased value can be given to the labor and producing 
 power of a country by the study of an elementary subject in the 
 public schools, it becomes at once an essentially practical element 
 of education, to be continued in every direction that will give us 
 profit or ])leasuro. I plead for the continued and increased sup- 
 port in this province of the schools connected with the Depart-' 
 mentof Artsand Manufactures, and their development into schools 
 of art and science, thoroughly organized and equipped with the 
 
22 
 
 TECHNICAL EPUCATFON. 
 
 best materialfl of study, fitted for instruction on the newest methods, 
 und taught by the most ucconn)lishod and practical teachers. I 
 l<iU)W nothing about these schools now, except tiiat they exist, so 
 that in mai<ing this suggestion I am not criticising them, nor their 
 conductors, nor their teachers. But I <l<) icnow tluft tor the 
 sum voted by the Lcgishiture of this province for the prcimotion 
 of technical education, \evy little viui be seriously done. And it 
 is altogether too important a maltt^*, too, to leave to chance, or 
 even private generosity. 
 
 The workman, like the nation, has to compete with the world, 
 and if an artizan or mechanic, brought up in this Province, .diould 
 find his way into other countries, he is jilaced at a groat disad- 
 vantage compai'cd with those in his trade oi* occupation who have 
 been better educated. Remaining here, he is just as much place«l 
 in competition with the foi-eign mechanic, whose work is placed 
 side by side with his, at his own dooi-. Kvc^ry human being has 
 a claim on the society in which he is born, for the best practical 
 education it can give him, and this best ought to be the best 
 obtainable in the world. And this as a matter of economy, and 
 more for the sake of societ}' than for his own sake. 
 
 Let us for a moment again look at the element of greatest 
 value in human labor. Labor is the application of two powers : 
 first, skill ; second, force. The product is valuable in the pro- 
 portion as it displays skill, and without value in the ratio of its 
 absence of skill. This is as true about the making of a watch 
 or a nail or a pair of boots as about the performance of a difficult 
 surgical operation. The skilled workman is one who produces 
 something of greater value out of the same material than the un- 
 pkilled workman can, and with less waste of time and material. He 
 is, therefore, a more profitable agent to employ than the unskilled, 
 and his work being more valuable, he receives a higher compen- 
 sation for it, while his employer, finding a ready market, at high 
 prices, for industrial masterpieces, makes more profit on the sale of 
 them than on unskilled productions. The purchaser is bettersatisfied 
 with the article, and willing to pay a higer price for it, than for 
 one displaying no skill. So that the application of skill and taste 
 in the production of an object gives (1) to the Avorkman higher 
 , wages, (2) to the employer larger profits, and (3) to the purchaser 
 more satisfaction than if the skill and taste had been absent. 
 
 This is the prosaic and practical aspect of the question, its 
 economical character. There is another view I shall refer to, 
 
LECTURE BY PROF. WALTER SMITH. 
 
 23 
 
 though not to enlarge u|ir)n. That may, if you pleane, 1)6 called 
 the Hontiniental aspect, in contradiHtinction to the practical one. 
 It Ih this: That the workman whose taste and skill are employo<l 
 is a hap))ioi' man than if only his musclos are used in his work. 
 His Houl and spirit ai'o engaged ; the innnortal part of him is 
 influencing his lahor, hreathing into the work of his hands the 
 very hreath of the life that shall never die. Such a man was 
 Raftaello when painting the Sistine Madonmi, transferring the 
 imago of his own heautiful soul to the canvas ; an act of homage 
 and praise to his Maker for lite and happiness an<l a gift to all 
 poHterity of a "Joy for ever." To the practical peoph* who do 
 not helieve in sentiment, I would also like to remark that the 
 Sistine Madonna is worth a (jood deal of money. 
 
 What is true ahoul the productions of one workman a[»plios 
 to all who are engaged in the industrial arts, and it is, there- 
 fore, equally true about a whole nation. The blacksmith and the 
 maker of wat(;h springs ma}' woi'k in the same material, steel, 
 yet one may |)roduce an object of small value out of a pound of 
 til material, while the other produces many of great value out of 
 a pennyweight of it. So it is with almost all the raw material 
 of the arts, both tine and inlustrial. A piece of clay which is of 
 less value than any coin in ('irculati(m becomes, under the touch 
 of Michael Angelo, of greater [»GCuniary value than any coin that 
 was ever circulated; a lump of common earth that might have 
 been nuide into a firebrick worth a penny, has been transformed 
 by the great sculptor into a relic that its weight in gold could not 
 purchase. 
 
 But, it may be asked, do all possess taste? My experience 
 as a teacher has convinced me that average people possess all 
 the faculties nocossary to become skilled workmen, and ifevel* 
 they have the opportunity given to the?n by education to develop 
 their powers, the results will justify this belief. 
 
 I wish to describe these works which have been displaj^ed upon 
 the walls in this hall, to show }'Ou how a kindred people has 
 sought to work this mine of industrial art. They illustrate first 
 the skill of young cliildren taught by the regular teachers of public 
 day schools. This, gives the required foundation for all subse- 
 quent progress, and it was absence of this feature in the national 
 scheme which hindered the progi-ess of industrial art education 
 in England for so long a time, as the years between 1836 and 1851. 
 Warned by that experience, the city and state, which has pro- 
 
24 
 
 TECHNICAL EDUCATION. 
 
 (luced thcHG works, begun their work of art educution simul- 
 taneously in the day schools and the evening classes, and it is 
 only now, when the day-scholai-s are finding their way into the 
 night-schools, that any great results have been attainable in them. 
 I have none of the P]vening Industrial School work to show you, 
 but have complete sets of drawing from the Normal Art School, 
 where the teachers of the public schools are ti-ained. What you 
 see in these works, from the first, second and third j'cars' courses 
 of study, covers the ground and more, of the work done in the 
 evening schools. It is all of an essentially practical character; 
 industriri in all its features, beginning with study of the facts of 
 Nii:urv or scientific ti'uth, following up these first studios and 
 observations by practice in drawing from objects or nature in line, 
 f?hade or color, and ending in every class with the application of the 
 knowledge oi- skill so obtained, to the making of original designs 
 for various branches of industry. Thus, you see, there is a trans- 
 parent object and planning in this scheme of work ; from the 
 beginning to the end it is- practical, for it has been carried out by 
 ordinary students ; and there is not a workman now engaged in 
 tbo constructive trades or industries in this Dominion ^vho could 
 not do as well if he had the chance, or who could not be worth 
 more to society as a member of it, if Mis country gave him that 
 chance. The first year's coui-se in this Normal School work is 
 " drawing and design ; " the second, " form, color, and design ; " 
 the third, "construction and design;" and the fourth, which is 
 not here represented (for the works produced in it arc models in 
 plaster, and therefore dilticult to carry about), is " sculptui'c and 
 design." 
 
 This, you will see, completely covers the ground of industrial 
 art and leaves nothing which can be comprehended under the 
 head of graphic science or art or design as atfccting industry, 
 unrepresented. But it does not entrench upon the study of fine 
 art, more than good drawing and color are alwa3's an important 
 part of the language of all art, painting, sculpture or architecture. 
 The professional element in art education is not attempted, because 
 that is justl}' in my opinion left to take caro of itself or be pro- 
 vided foi- elsGwhere. 
 
 It gives me, as an artist, great pleasure to 'know how much has 
 been done towards fostering a national fine art school by the 
 founding of the Royal Canadian Academy, for success in fiiio »md 
 industrial art alwa^^s goes hand in hand. Now, 1 think, to com- 
 
LECTURE BY PROF. WALTER SMITH. 
 
 25 
 
 rial 
 the 
 try, 
 tino 
 ant 
 Ave. 
 use 
 )ro- 
 
 plete the unbroken chain of educational influences, a system of 
 technical schools should be established in every province, either 
 by the Provincial Governments alone, or b}- assistance in some 
 manner of the Dominion authorities. And then 1 believe timt 
 the country will take a start forward in a career of prosperity 
 commensurate with its ^reat resources and its enormous urea. 
 
 The fusion, Loo, of the French and English races in it is inevi- 
 table at no v^ry distant day, whatever hindrances there m.„y have 
 been in the past or may exist now and in the future to the com- 
 mingling of two such races, llistory points ihat way, for the 
 fusion oi the Saxon and Noi-man has nuuie the Englishman, and 
 the progress of thought seems to tend in that directi.>n. May it 
 be hastened. The two foremost races in the world, each having 
 its elements of strength and grandeur, and leading ih\i nations 
 to liberty and culture in the worlds of government a id art, may 
 well be expected to produce a nation that shall be unexampled in 
 its great achievements. The Greeks and Romans have succes- 
 sively ruled the world in philosophy, fine art, government and 
 conquest. Their successoi's, the French and English nations, have 
 not degenerated from their ancestors, if not ancestors of race, 
 certainly of attainments; and we, their children, may welcome 
 the day when the French and English elements in this Dominion 
 of (Canada may become, by amalgamation, the strongest, the most 
 cultured, the most independent nation in the world, just, generous, 
 and righteous, for " righteousnesM (-xaltetb a nation." 
 
 Prof. SmiTH was loudly applauded throughout, and received a 
 cordial vote of thanks at the conclusion of the lecture, which had 
 been listened to with rapt attention by the audience. The 
 great excellence of Prof. Smith's lectures— evidently the I'esult of 
 great experience and intimate knowledge of the subject — render 
 them of the utmost value tocer^'one interested in education, and 
 it is certain that the lecturer's visits will have been productive of 
 much good in Montreal. The drawings, &<•.. with which the lec- 
 tures were illustrated, are still on view at the Mechanics' Hall. 
 
 has 
 
 the 
 
 :nd 
 
 ■)m- 
 
SPEECH ON 
 
 DRAWING, AND TEACHING DRAWING. 
 
 ADDRESSED TO THE STUDENTS OF THE QUEBEC NORMAL SCHOOL, 
 
 MAY 1st, 1882. 
 
 The speaker waw introduced to the students by the Superior of 
 the School, the Hon. (I. Ouiraet having arranged with both parties 
 for this exercise, and Mr. Stevenson, Secretary of the Council of 
 Arts and Manufactures, accompanying the Professor as repre- 
 senting the Government authorisation which brought tiie lecturer 
 to this Province. 
 
 Prof. Walter Smith spoke as follows : 
 
 I stand before you French Canadians with honoi* and shame, 
 unable to address you in tlie French language, though as a boy I 
 have lived in France and have spoken French, but long years havo 
 taken from me my skill in speech from disuse of the tongue. ' 
 must fall back upon the language which is to me my native lan- 
 guage, my mother tongue, my FiDglish. Forgive me for this in, 
 ability to address you in your mothei' tongue, and 1 will speak o 
 slowly that you all, who undei'stand English in a literary way 
 shall not misunderstand me this day. 
 
 Vou are going to become teachers; that is wh}' you are here. 
 The formers of the next and many succeeding generations, and 
 the moulders of their thought. That is a terrible responsibility. 
 I respe«'t the office of the teacher, and claim that among the wide 
 variety of occupations, to which you may be devoted, that of the 
 teacher is the highest ; for he is the leader among men, the one 
 who shapes the thoughts of coming generations. 
 
 There are man\ teachers. The ecclesiastic is the first. The 
 author or writer of books is the next; they are teachers of all, 
 from the cradle to the grave ; and the scliool-master, who serves 
 
u^re. 
 
 and 
 lity. 
 wide 
 r the 
 
 one 
 
 Tlu 
 
 SPEECH BT PROF. WALTER SMITH. 
 
 27 
 
 the young human creatui-e in the school room, he also is a teacher, 
 leader, guide counsellor and friend. And such 3'ou may expect to 
 become in the future, if only you are true and faithful to the great 
 ideal which has been set befoi'e you by thc; (Jreat Teacher, the Son 
 of God, who on this world assumed the oflfice of a Teacher of our 
 race. 
 
 I would, having devoted m}^ own life to the vocation of the 
 teacher, wish to imbue you with a sense of its dignity and its 
 importan(;e. Not with its means of worldly success, lor no teacher 
 ever was rich, ever revelled in the goods of this world. To assume 
 the office of teacher means to choose in this world that you shall 
 be poor, laborious, obscure ; be the plaything of politicians and of 
 the men who avt on free platibrms ; be misunderstood and be 
 misrepi'esented, and die and be buried in the silence and the dark- 
 ness. It is not a very encouraging prospect tor men of tirst-rate 
 powers; and yet I may now be addressing the future Prime Min- 
 ister of Canada, now a Student in this school. 
 
 Fellow-students, there are rewards and there are compensations 
 in this office of teaching which the Church knows ; which every 
 consecrated life knows, whether sacred or secular; hut which you 
 as youths cannot know, until labour in the vineyard of education 
 has opened your eyes and rewarded you witii the true and glori- 
 ous vision of the servants of the Loi'd. 
 
 And so 1, speaking as a teacher to you who are to become 
 teachers, welcome you to the vocjation, and ivmember that voca- 
 tion is a calling, something to which you are called. The little 
 folks who live in this century do not dignify tlie teacher's office by 
 calling it a profession, like that of the lawyer, the physician, oi- 
 the soldier; they call it a vocation, i^v cidlhuj. Let us comfort 
 one another, that a }»rofession in this age is an occupation in which 
 people may profess a good deal, and not do so much as they wish to 
 do: and a vot-ation is a calling in which those who hear the (rail 
 are for ever following it, in spite of all the obscui-ity, poverty and 
 obloquy it involves. 
 
 I respect the office of teacher, and choose it before others in 
 which the wealth of this world and its earthly distinctions might 
 have been won by me, had 1 preferred such temporaiy baubles 
 to the other I'cward which 1 have hinted at, hut which you can 
 never know nor have, until you luive earned it. 
 
 And now let me get to my subject to-day, the teaching of the 
 elements of Art in our public schools, and say a few words to you 
 
28 
 
 TEACHING DRAWING. 
 
 on the que«tion of how it is to be brought about in the most satis, 
 factory manner. You have to do this among your other duties, 
 well or ill, in the schools to which you will be appointed, after 
 conn)leting your trainimj hero ; and bear in mind that \ say your 
 training, not your education, for education is going on between 
 the cradle and the grave, never falters and never stops ; whilst 
 your professional or vocational training i', preliminarily given to 
 you in this school, and is technically finished when you leave it 
 and become youi' own masters. 
 
 Drawing is the record of what the senses ])erceive and can 
 express. It is a criticism made by ourselves on our own ])er- 
 ceptions ; the evidence of the man on his capacities to understand. 
 It is not art, any more than the processes of reading and wi'iting 
 are litei-ature. They are language, giving yoti the means and 
 opportunity of saying something, if you nave anything to say. 
 
 But you may learn to read and write without becoming authors, 
 and you may learn to draw without becoming artists ; yet your 
 knowledge of language and art may be valuable to you, and we 
 are accustomed to believe that education in language and art 
 assists the human being to be happy and prosperous. P'or educa- 
 tion is not only the giving of information by instruction, but the 
 development of natural powers by their exercise ; and so the eye 
 which sees, the ear which hears, and the hand which feels, are to 
 be discovei-ed and utilized in the structure of human education ; 
 for there are eyes which see not, and ears which do not hear, and 
 hands whose touch is not sensitive, if we are to believe a great 
 authority. . 
 
 The senses are sensitive in a child, they are the avenues of 
 information to the soul, the channels by which knowledge of the 
 outer world travels from the material world outside to the spiritual 
 world of inner mental consciousness. 
 
 And the senses are never so keenly alive, never so sensitive in 
 the human creature, as in cliildhood ; the j'eady servants of the 
 mind, existing in healthy development before reason assumes 
 control of our existence, and a substitute tor it where reason is 
 never developed. 
 
 It is through the sense of sight and touch that drawing appeals 
 to the soul. It calls our attention to the facts and the beauties of 
 the physical world, and through their characteristics to that which 
 is behind them, theii* great and mysterious first cause. That 
 which develops oui* perception of the true and the beautiful, must 
 
SPEECH BY PROF. WALTER SMITH. 
 
 29 
 
 can 
 
 be good and holy, and art nieaHuren oin* perception of that which 
 la true, and our recognition of that which is beautiful — both in 
 the world of nature and form, and that other great world in which 
 we all muHt live, the world of Kociety and thought. 
 
 We learn through our Hennes. The infant child is perpetually 
 exercising its senses, and thus accjuiring information and storing 
 it as a solid foundation of experience on which to build the rea- 
 soning faculty. And this gentle exercise of the beautiful senses 
 of sight and touch by observation of the form and color of objects, 
 and the delineation of their physical peculiarities by drawing, is 
 nature'sown way of teaching, and should form a part of all schemes 
 of education. 
 
 We leai-n to use instruments of precision in drawing, in order 
 that our work may be exact and trustworthy, for many human 
 intei'ests are involved in the problem of exact and true work in 
 the formation and expression of plans. Think of the safety of a 
 bridge, whose plan is expressed by drawings, and the danger which 
 may arise from inexactness or inaccui-acy ; and so of machines 
 which save human time and labour and thus lengthen our lives, 
 their virtue is in their more than intended accui-acy, in their 
 mathematical perfection. 
 
 We teach the use of the insti'ument, the ruler, scale and com- 
 pass, to secure so vital a feature of industrial Jirt as this element 
 of truth to every child ; regarding science as the reliable servant 
 of our physical necessities, the stalwart and truthful guide which 
 introduces us to the world of fact. And so we study and pi-actice 
 geometrical drawing, plane and solid, and pei'spective which is 
 its interpreter to the eye. And beyond this we exercise the tree 
 hand, without resorting to mechanical oi' scientific assistar oe, in 
 order that the eye may be made to sec with the faculty of vision 
 as well as the sense of sight and the hnnd ma^ be made to express 
 with the cunning that skill can give li ; the two senses working 
 in concert may be the echoes of the great Artificer, whose eye and 
 finger sees and controls this world in which we live. 
 
 Study this art of drawing for your own enjoyment of existence, 
 and to assist you in becoming good teachers. Draw upon the 
 blackboard every lesson you give, for the blackboard is to educa- 
 tion what the steam engine is to industry. 
 
 Some teachers do not use the board in teaching drawing, say- 
 ing that they cannot draw well enough to illustrate on the board. 
 This is an eminently illogical and silly way of Igoking at the 
 
30 
 
 TEACHING DRAWING. 
 
 matter, /on might just as well Hay you will not go into the 
 water until you know how to swim. What insane nonnonse that 
 would }>e ! You go into the water before you can Hwim, and in 
 order that you may learn, and you must draw ujion the blackboard 
 both HH a pupil and a teachci-, in order that you may learn to draw 
 and learn to teach. 
 
 The Norman Fi-ench have a proverb, " They forge well, who 
 forge," and it a])plies to all departmenlh> of human activity. They 
 draw well, who drnw ; and they teach well, who teach ; and you 
 must draw long and much on the blackboard before you can teach 
 in a masierly way, or even make yourself thoroughly understood 
 in the language of form, to the world of thought and human con- 
 sciousness. But philosophic teaching re([uireK that we should 
 go from the thing to the thought, create the true thought by obser- 
 vation and analysis of the actual thing. For the idea must always 
 precc<lc the work, the comcption be ahead of thi; execution, be 
 the avant courier of the deed. 
 
 Where this is possible, as in object drawing, always have the 
 object before you and before your class, whilst drawing it, and 
 choose such common and familiar things to begin upon, that your 
 scholars know them from familiarity with them. 
 
 Here I bring you some good pi-actical objects, with which to 
 commence your study of object drawing. They illustrate the geo- 
 raeti'ic basis of nature's craftsmanship, the simple groundwork of 
 sill her performances. The sphere, the one shape which never 
 varies, however or by whomever seen, is the basis of this orange, 
 i]\9t form Avhich it most resembles, as an irregulai' form can re- 
 semble that which is regular, and this apple, is also nearest like 
 the sphere, of all geometric solids. The way in which they differ 
 from the sphere will be their individual charactei', which you 
 may thei'efore know })y comparing them with it. ; 
 
 Again, I take two common things, a fruit and a vegetable, the 
 lemon and potato, and see that in their general shape they ajv 
 pi'oach the form of an ellipse. So 1 should learn all that can be 
 known of the el)"; \ the regular form, and all 1 can learn is the 
 proportion which • longer and shorter axes bear to one another, 
 learn and practise the drawing of this exact form, in order that I 
 may analyse and see the true character of objects based upon its 
 general shape, which in nature are irregular or inexact, upon our 
 human standards. Then, again, I take this egg shape ; this ovoid 
 as it i's called, an actual well-formed egg, and redognise in it another 
 
SPEECH BY PROP. WALTER SBflTH. 
 
 31 
 
 like 
 
 regular exact form, upon which many ibrms in nature and art 
 are based, departing from the regular and exact in the ratio of 
 their individuality and character. The human face is haned on 
 this ovoid form, and a pergonal likeneHH in the re.sult of unlikeness 
 to the form of the original geometric form. 
 
 The spiral curve, wo cunning, myssteriouH and beautiful, is a 
 regular geometric line, and the motive of much that is beautiful 
 in art and ornament. Here we see it in nature, in this shell, a 
 perfect spiral, and it is also to be seen in the fronds of ferns, be- 
 fore they unfold, and in many other natural creations. 
 
 Nature is very scientific, and her work is always on a [)lan, and 
 her inexactness apparent to our poor vision is only a higher tyjie 
 of regularity, a law applied with a subtlety past our human com- 
 prehension. 
 
 Still, if we examine in all patience and humility into the basis 
 of nature's plan of creation, we find a simple, regular and exact 
 type, easy to recognise and possible to define, and her departures 
 from these simple ty])e8 are but the playfulness of her humour, 
 or to display affectionately the wealth of her resources. 
 
 So when we look at tJie sphere, the spheroid, the ovoid and the 
 spiral, we see the starting points of much that is to be found in the 
 world of form, and the means of their analysis to learn the cha- 
 racter and individuality which different types of form have. 
 
 We teach design or arr^;ngement in the public schools, in order 
 to develop originality of thinking and performance in children, 
 not with the hope of making designers of them, for that is given 
 but to the few, but to exercise the faculty of planning and fore- 
 thought which all human creatures have, and which is developed 
 in so few. 
 
 1 find all children are delighted with this exercise of designing. 
 They have no lack of originality, but, rather therevei'se, for many 
 of their works display an exuberant and ahuost fearful originalty. 
 Taking natural forms of leaves and flowers as subjects, and 
 geometric regularity as a basis, repetition in I'hythmical sequence 
 as a guide, it is not only possible for very average children or 
 people to make a fair design, but it is absolutely impossible to 
 make a bad design, always remembering to usp nature's forms 
 with scientific accuracy, and with the gentle grace of art. 
 
 In this exercise there should be full scope for originality, bad 
 and good, a vent for all the perception and ignorance which children 
 
 - / 
 
32 
 
 TEACHING DRAWING. 
 
 have, ami in ordei- that the teacher may nee and know the hahit 
 of Ihinkirjg and eharaeter of thought which the child haH. 
 
 For never let it be forgotten that a drawing \h the evidence of 
 a witness, it is our representation of ourselves, mentally; what 
 we can see, what we know, and tinally, what we can express. 
 No human crc^ature ever makes a bad drawing by accident. It is 
 always meant, and it is the true thermometer of our powers of 
 knowing and of doing. And thus wlien a distorted or untrue 
 ^ drawing is made by a pupil, it disjilays ignorance which is to be 
 pitied, not blamed ; weakness to be assisted, not wickedness to 
 be rej)roved, and the teacher who has the divine instinct of service 
 and leadership, will always i-egard the poor work of his pupil as 
 an appeal to his love and help, not the display of waywardness to 
 be corrected and chastised with impatience or anger. The good 
 teacher is never angry nor impatient. 
 
 The time fails me in this one short hour which you have given 
 to me, to dwell more fully on the aspects and prospects of Art 
 Education, its resources and its means of helpfulness to this nation 
 and to you, the teachers of its people. Let me, however, say 
 this much to you personally. 
 
 You French Canadians are scions of the most artistic nation in 
 the world, for bt belle France sets the fashion in the w )rld of taste. 
 If blood is thickei- than water, if sons resemble their sires, if like 
 makes like according to the law of nature, then you ought to be 
 able, by the study and practice of Art, to make Cjinada to the 
 Continent of America what France is to Eui'ope. That would be 
 something worthy of national ambition, and is within the scope 
 of your future attainment. 
 
 1 counsel you to live for a purpose, and that it be worthy of you 
 and of the nation frOm which you sprang. I have an infinite 
 amount of respect and sympathy for the land of your Jincestors, 
 also for that in which you live, the I'ace which you belong to, and 
 the country in which you live now. And it is your duty as 
 teachers and your privilege as citizens to spread the love of 
 education and appreciation of Art over this bi-oad i-ealm of Canada, 
 *in virtue of your instincts as the descendants of Frenchmen, and 
 to develop the marvelous resources of natural wealth which belong 
 to you in this your native land. 
 
 I heartily wish you God-speed in your work, as teachers, as 
 citizens, as men. You have the responsibility of leading and 
 
SPEECH BY PPOF. WALTER SMITH. 33 
 
 guiding the coming generations ; see that you are faithful to the 
 trust reposed in you, by the exercise of diligence, faith, sympathy 
 and skill ; and then you will know what it is to have a teacher's 
 reward, not wealth, distinction or lame, hut the Voice which shall 
 meet you when life's journey is over, and salute you with the 
 grateful words of welcome, "Well done, good and faithful servant." 
 
 
 } I 
 
 n » 
 
I I 
 
 HOUSEHOLD TASTE; 
 
 AND 
 
 PRINCIPLES OF INDUSTRIAL DESIGN. 
 
 Lecture by Prof. Walter Smith, delivered in Quebec, May 1st, 1882. 
 
 The words Household Tusto (tonvey (o each of us the ideas with 
 which we assoeiate the eomtbrls and adornments of our homes, 
 jind the homes of our friends or neighhors. 
 
 The word Home is perhaps the most beautiful woi'd in t^)C 
 English language. Just as that which it stands for is the dearest of 
 our possessions, for as the old song says : 
 
 " Be it ever so homely 
 There's no place like Home." 
 
 It is, indeed, a sacred place when its influences are good and 
 ennobling, and it symholizes the humanity of oui- race, for the 
 hearthstone is to civilization what the altar is to religion — and a 
 well ordered home, containing a virtuous and intelligent family,, 
 is so holy a place that to even an angelic visitor it might he said, 
 " Put olf thy shoes from off thy feet, for the place whereon thou 
 standest is holy ground." 
 
 Erecting the family altar, hoth secular and sacred, marks a 
 period in civilization of our race, when noma<lic wandering tribes 
 became settled : '' Replenish the earth and subdue it," not '' gather 
 Avhere thou hast not strewn," and the primeval curse which foi-e- 
 told that man should eat bread oidy in the sweat of his brow, 
 indicated that between the human race and the beasts that perish 
 there was a radical distinction in kind, not alone in degree. 
 
 For to eat bread requires planting, and waiting and watching, 
 forethought which comes of reasoning, settlement in a place; not 
 the instinct of the animal hunting for its prey in every valley and 
 
LECTURE BY PROF. WALTER SMITH. 
 
 35 
 
 a 
 
 ICl" 
 
 i-e- 
 ish 
 
 lot 
 
 Htream, or on t'vory liill nido, Iml adoHriito «liar^«' and rcvolatioii 
 of lahoiii', (lirttM'iut; oiitiroly from llu^ (>nil(»\vmont of iiiHlinct given 
 to aninials. Thus the homo and the family hocamo a necowsity, 
 and the inHiienco of the fornuM* upon the hitter \h WidI detified in 
 the proverb, " As are the homes, so are the people." 
 
 Inklience of Home. 
 • 
 
 We are a('eusl(>med to speak of a family likeness of features, 
 whieh often times enables a strantc^^M', who has seen one member 
 of a family, to reeoLfni/A' others belonging to it, though unknown 
 to him at the time an<l never seen botbre. Members of the family 
 are often »in<'onseious of this lik«'ness to one another, and indeed 
 it is not invariably physical, but it. (h)es exist either in tbrm or 
 eolour, or more frequently in expression and manner, and voieo — 
 a tangible, reeogni/.able fact, which othei's see and distinguish. 
 
 This unconscious iiit1u(>nce of ra«'e and family is materially 
 assisted l»y the surroundings of home, which becomes the cradle 
 of the tamily characteras well as the moulder of its physique. A 
 well-ordered, clean and tastefully furnished h(mie makes orderly, 
 strong, refined and hap[>y men and women of the boys and girls 
 brought up in it, or assist very ]iowerfully in doing so. 
 
 This is true not oidy of the social government carried on in it, 
 but of all the features of the household ; true of the taste displayed 
 on w.'jHs, ceilings and floors, as in the pictures on the walls, as 
 true of the furniture and oj'uaments as of the literature, food, 
 habits and company. i, ) , , 
 
 Every detail of social order and physical surroundings directly 
 affects the character of the youths of both sexes, whose mental 
 structure is being built, up under the roof-tree of the house they 
 live in ; and these influences are moi'e constant, more subtle and 
 infinitely more powerful than those of the school-room, whether 
 secular or Sabbath. 
 
 It may be that they are insensible, and not taken into acount in 
 education ; but they exist, surely and palpably. The mountain 
 air invigorates, and the vitiated atmosphere of badly drained 
 localities de[>resses, just as 2)olluted water sows its typhoidal 
 germs in our systems, whilst we may be entirely unconscious of 
 the fatal influences, gradually eating away our vitality. The 
 changes we undergo are not sudden, and therefore do not shock us 
 as an unexpected catastrophe would ; but they are subtle and 
 certain, and too often irrevocable. 
 
86 
 
 HOrHEHOLD TASTE. 
 
 Karlv KimrATFON. 
 
 EdiK'Htion begiriH very early in llic yoiin^ liuiiiun ^^eatll^^ I 
 have hari twelve opporliinitiew othtudjing thin |)n)l>lein I'oiind my 
 own heartli-Htone, and have tried to niak(! uhc of them. Practical 
 Htudy from the living Nuhject is apt to hi' more protitahle and 
 truHtwfM'thy than mere theoretical Hjieculationn, and when people 
 know whiit iK for theii- advantage in education, no childless men 
 or women will he eligihle to act on school hoards. To know any- 
 thing about children, you must summer and winter them, watch 
 them in fair weatlmr and toul ; study them in sickness and in 
 health, keej) count of their develo[>ment through years of unfold- 
 ing characiter and powers, mental and jihysical ; for the child and 
 youth, of flesh and hlood, is not always the creature about whom 
 maids and bachelors speculate, and childless school committeemen 
 theori/e. There is ample work for such excellent people to do» 
 but tor this work nature has not «|ualitied (hem, and 1 have rarely 
 found one, who, being childless, knew enough by actual experience 
 of all the nature of a child, to be a safe flii'cctor of its education. 
 
 Before a child can talk or walk its character is being tbrmed,, 
 and a strong influence bi'ought to bear upon an infant who has not 
 yet lived a hundred days, will aft'ect its existence for yea is, and 
 probably tbi- all its after life, and the power of this attection 
 increases daily ; every object about which the youngCi '''ire is 
 forced to think and kept thinking by its repetition or frequency, 
 moulds and ahapes the infinite mental faculties, and makes the 
 compound unit which we call charactei'. 
 
 The very toys given to babies in their cradles affect their ta^te, 
 and the savage barbarism displayed b^' some men in their matuj'ity, 
 in the houses they build, or in their knowledge of form, Miay 
 be accounted for by the incipient influences of a more than usundy 
 atrocious !Noah's Ark, whose architecture and sculpture gallery 
 formed the basis of their very early studies in art. 
 
 The Humanity op Art. 
 
 .1; 
 
 . M 
 
 The foundation of Household Taste is laid deep in our very 
 humanity, for a love of ornament is displayed only by human 
 beings, none others of God's creatures having ever given any evi- 
 dence of this characteristic, whilst no race of human beings yet 
 discovered has ignored this ci'aving for the ornamental, either in 
 form or color. 
 
litirTltRft BV PROP. WAI.TKR SMITH. 
 
 :n 
 
 18 
 
 ho 
 
 \iy. 
 
 ivy 
 lan 
 
 }vi- 
 
 in 
 
 The hiiinan raco Jiloiie uhos tools us a muans of ott'oncc or (1«- 
 fonco, to provide foi* its physical nocossitios — and so surely as a 
 tool or a weapon heconics the ready and faitht'iil servant of the 
 man, it heeomos also the suhject of his love of orruiineitt. The 
 cliih, or paddle oi* how of the most savage race, displays the rude 
 ert'ort at ornamentation, which is the hasis of all art. The Sand- 
 wich Islander, or the ( !atfre, dit!'ers from the artist of the age of 
 Pericles in his style and suhject only, not in Ids denire or aim ; 
 and the chief wh(» recpiires his warriors to wear shark's teeth or 
 eagle's featiiei's, and smear their bodies with startling colours, 
 displays the same human fa«'ulty as that which prompted King 
 Solomon, (u* Lorenzo the Magniticent. Nothing else is so human 
 in hunuin luiture as ai't. 
 
 There are many stages in tiie development of this human love 
 of art, for it is one of many phasi^s of civilization, which go hand 
 in hand together. 
 
 To beautif}' objects which are urseful is the first stage, and thus 
 ornamental art invariably precedes that which we call tine art, 
 which is the highest development of the desire tor the beautiful 
 that seems to be the very birthright of nuinkind. 
 
 On thai plane of ornamenting and decorating the things we 
 love, all men are brethren, belonging to one family; and it is a 
 common possession which binds us together in spite of varying 
 color, or creed, or race, or natiomility, or form of government, or 
 even of time. It is as universal as the edict which said, "in the 
 sweat of thy brow shalt thou eat bread," not alone in the sweat of 
 thy body, lor the hunuin ci'cature is the only one which can be 
 said to have a brow, and it is in the exercise of the brain upon 
 which reasoning depends. 
 
 So that though some ci features are builders besides men, as birds, 
 who unconsciously build beautiful nests, and manj" are engineers, 
 like the beaver and many kinds of insects, men alone are artists, 
 and create and rejoice in the work of theii* own hands, made beau- 
 tiful by their forethought, the sweat of their brovvs. 
 
 Happiness and Kconomy of Art Studies. 
 
 This effort to make the useful beautiful, is onh^ fulfilling our 
 human instincts, developed beyond the animal stage into a distinc- 
 tively human feature, and it is therefore a privilege and an endow- 
 ment which should be cherished as a great gift, and gratified as a 
 higher form of necessity. 
 
38 
 
 HOUSEHOLD TASTE. 
 
 Love of the beautiful is indeed an exalted possession, for it pro- 
 ceeds only from a revelation made to those who become fitted to 
 receive it, though human nature is always struggling after it in 
 various ways, and finds delight and happiness in the gratification 
 of this yearning. Inteiligent people will no more ignore this com- 
 mon desire of the human nature than they will refuse to recognize 
 the wish to live, or the longing to be free oi' health}'. It is here in 
 oui" m'dst and we are all affected by it, and must therefore make 
 the best we can of the affection, and profit by its direction in 
 true channels. 
 
 The pure enjoyment and exalted inspiration which the study 
 and appi'eciation of art will give to us is a sufiicient reward in 
 itself; but the civilization and progress, and development of a 
 nation are associated with cultivation of the arts of peai*e ; so that 
 the interests of refined and intellectual soijiety, and the material 
 prosperity of our (iountiy are associjitcd in this study of art, a 
 union of enjoyment and profit as rai'e as it is delightful. > 
 
 Ornamental Art and Pfne Art 1>kpined. 
 
 That which is called good taste in ait I'esolves itself very much 
 into a ti'ue understanding and a prosier recognition of the tlistinc- 
 tion between ornAraental, (U* decorative art, and tine art, and it 
 is through ignorance of this distinction, oi' on the false standards 
 by which either or both are judged, that outrages of tasfe and 
 consistency are sometimes producetl or accepted. 
 
 Let us SCO what this distinction is, by c(msidering the origin 
 and aim of both branches of art. 
 
 Ornamental art is that which is applied to useful objects to in- 
 crease their beauty and attractiveness, without interfering with 
 their use. Good design provides for, and good taste re({uires, that 
 this element of decoration or orn"ment should never decrease in 
 the slightest degree the service for which the object Avas made, noi' 
 destroy, to the least extent, its usefulness, convenience or perma 
 nence ; and it is bad design when this is done by ornamentation, 
 and bad taste which apju'oves of it, when done. The object must 
 be adapted to its jiurpose, be made of good material, and as per 
 manent as honcrit work can make it, as a neces^aiy condition of 
 being serviceable ; and then if it complies with these requij-ements, 
 the more beautiful it is the better. In the order of impoi-tance, 
 then, we should lool: for art in industrial objects to give us, 1st, 
 good material, which means honesty ; 2uc', good workmanship, 
 
LECTURE BY PROP. WALTER SMITH. 
 
 ngiii 
 
 M'lua- 
 ition, 
 must 
 I per- 
 on of 
 
 lOMts, 
 
 tmce, 
 1, list, 
 iship, 
 
 whidi means Hkill, and 3rd, good design, which means taste ; 
 honesty, skill and taste, resulting in the highest form of industrial 
 art. Its origin and aim is service, true and faithful essentially, 
 and then as graceful and elegant as is consistent with the nature 
 of its ottice, but service tohodily needs, not to spiritual necessities. 
 A work of tine art, such as a pictui-e or a statue, has an 
 altogether different function. It j)erforms no useful service for 
 our physical wants, but exists only that it may appeal to our 
 minds, exhibiting to us perhaps the record of a great historical 
 scene, or a distinguished pei'son, or a poetical rendering of nature's 
 choicest gifts. Its service to us is intellectual, and it performs no 
 menial duty. 
 
 Confusion of the two Branches of Art. 
 
 Here is then a clear field for the two bran(;hes of ai't, and each 
 has its own language, limitations and resources, which are not 
 interchangeable, but radically distinct, in aim, motive, and per- 
 formance. If these different pui'poses be confused, or an eflort be 
 made to design one object which shali discharge the functions of 
 both, vv shall be certain to see an outrage of taste, which no 
 apology can excuse. Thus a work of fine art, such as a statuette 
 of the Apollo or Venus of Milo, having its iiead pei'foi-ated, and 
 screwed on by its necjk to the body which is hollow, and made to 
 do duty as a peppei-box, would degrade fine art and be an insult 
 to good industrial art; resulting in a sorrowful statuette which 
 use would disfigui-e and destroy, whilst it could tn\[y by courtesj' 
 be regarded as a convenient pepi)er-box, to say notliuigasa :r.atter 
 of taste of the source of the condiment, suggested by its holder. 
 One illustration is enough, thougli it is l)y no means difficult to 
 find examples of such abominations. 
 
 The other way in which this misdirection is displayed is when 
 a very humble thing of use attempts to be also a work of fine art, 
 by imitation of nature. Thus even the handle of an umbrella may 
 be made a.i instrunici^ of tortui*e by being carved into the like- 
 ness of an animal, the rough surface of whose hide, or the angular 
 projecti(Ui of its lindjs and head, lacerate oi" irritate the sensitive 
 hand every time the iumdle is held firmly, foi- the use it was made 
 to serve. 
 
 As a rule no useful object should be ornamented by ciirect imi- 
 tation of luiture, but natuitd forms, well chosen for the purpose 
 should be conventionalized and ornamentally treated by symmetry 
 
40 
 
 HOUSEHOLD TASTE. 
 
 and repetition, suggenting itn source and origin, only ; wliiist in 
 works oi' fine Art, nature must at all times be both its source and 
 standard oi" excellence. 
 
 FuRNrSHINQ. 
 
 Furnishing a room, so that it will be a pleasant place to be in, 
 have an agreeable influence upon us, both mentally and physically, 
 and never go out of the best of fashions ; and true taste, resolves it- 
 self into Ist — a knowledge of the harmony of color ; 2nd, a know- 
 ledge of the principles of good design us applied to each object. 
 
 We will look at both oi these sources of good taste, and try to 
 find out by the exercise of observation and common-sense what 
 seems to be their law and order. 
 
 On Color. 
 
 The general effect of a room will depend very greatly upon the 
 color employed on the ceiling, walls and floor, and these should be 
 considered as a whole, and made to harmonize with each o her, as 
 well as with the fui'niture antl oilier objects in the room. 
 
 There is a gi-ammar of coloi-, as fixed and uiu-hangeable as the 
 law of harmony in notes of music. 
 
 Tf you touch the harmonic intervals on a piano with knowledge 
 and skill, you produce chords which are harmonious and agreeable; 
 but if 3^ou strike the key-board with the clenched fist, or sit upon 
 it, you produce discord. 
 
 So with color; if you associate certain tints in definite propor- 
 tion, you obtain harnKmy and pleasing effect; if you jumble all 
 the colors together, without law or knowledge, the result will be 
 discord and physical and mental irritation, the same though acting 
 on another sense, as when you assaulted the piano. 
 
 The senses of sight and hearing have their rights, which can- 
 not be outraged without inflicting pain on the individual. 
 
 Nature's Palette. 
 
 Nature is our best guide in the use of colors, and those tints, 
 hues and shades which we lind prevailing in one position in 
 nature, will never be diHagreepble or out of place wV; •• em- 
 ployed in a simihir position, in the decoration or th«j furnishing 
 of a room. < ^ ■■ • 
 
 Let us apply this. .... ^ • 
 
LECTURE BY PROP. WALTER SMITH. 
 
 41 
 
 How Hhould we use color on ceilingH, walls and floors ? 
 Suppose we look at nature's palette and see what she does in the 
 
 way of chromatic; decoration. 
 
 i 
 
 The CETLTNa. 
 
 he 
 
 Take the natural ceiling, the sky, to begin with. What colors 
 do we find there? Blue back-grounds, red clouds, yellow sun, with 
 the neutrals white, grey and gold, in clouds and sunshine. 
 
 Then blue, red and yellow, with white, grey and gold, ought to be 
 the right coloring for a ceiling, modified as to tint and tone, and 
 hue, by the knowledge of the use which the room is to be put to. 
 
 It is impossible to furnish a room harmoniously if the ceiling 
 be white, or if curtains, or hangings of any kind be white; for 
 either bla k -m- white in any quantity in a room, will make im- 
 possibMj ;.';. vmonic results. The prevailing color may be a tint 
 of red, ; liio or yellow, according to the taste of the j)ers<m who is 
 to occupy the room, or the use of the room ; but this being decided, 
 the rest of the room should be I'urnished to carry out the scheme 
 of colom', of which the ceiling strikes the key-note. 
 
 Avoiding the controversies of the color-mania«;s, we may still be 
 allowed to call red, blue and yellow i\\ii primary colors. 
 
 bi 
 
 ing 
 
 lUg 
 
 The Wall. 
 
 Come next (O the \,h11m. 
 
 Between heaven ini earth, the predominant colors in nature 
 are seen in theg ^< ;■ >i irees, in the purple of distant atmospheric 
 effects, and in the o; gc color ol' clouds at snni'ise and sunset. 
 These colors, green, pui'] \;and orange, arc rw\\iM\ i^ecoiidary colors ; 
 and, togethei" with admixtures of the neutrals to produce tints and 
 tones, should be used on walls, letting the stM'ondary wall color 
 liarmonize with the primary ceiling color; thus, if the ceiling be 
 a tint of blue, the wall should be a tone of orange; if the ceiling 
 be pink or salmon color, a tint of red, the wall should be a neutral 
 green; if the (»;';!■..; be yellow oi* cream coloi", the wall should be 
 purple in tone. 
 
 The Floor. 
 
 Th'ni comes the floor. 
 
 oeneath our feet in nature we shall find the tertiary colors, the 
 x'usset and eitiine oi the earth stains, and the olive of grasb 
 
42 
 
 HOUSEHOLD TASTE. 
 
 shadows, relieved by small bright spots of the primary colors, red, 
 blue and yellow, in flowers. 
 
 80, according to this natural system, the color of floors, whether 
 of wood, tileing or carpeting, ought to be subdued and sombre, 
 with small and inlVeciuent bits of bright colors to relieve the 
 dullness of the general effect, and produce the appearance of 
 bloom, as in a field of flowers. 
 
 RIlSUMfi. 
 
 Here, then, is a simple guide ; on the ceiling the primary colors 
 and neuti'als, red, blue and yellow, with white, gray and gold ; 
 on the walls the secondaries, green, purple and orange, with 
 tones and shades ; on the floor the tertiaries, russett, citrine and 
 olive, relieved by points of the bright colu f 
 
 Above us, bright colors, opposite to us middle colors, 
 
 beneath us the dull colors. 
 
 There is a certain sort of symbolism and significance in this 
 scheme of color, and it, certainly is nature's way of painting; so 
 that I think we may safely trust to it. T am not prepared to say 
 that no good decorative effects have ever been produced except 
 on this scheme, but I do stand here to assert tht»'. harmonious and 
 pleasing results may certainly be secured by keeping in mind 
 this system of coloi' for decorative purposes ; that blue (veiling, 
 orange or brown walls, and olive floors; or red ceiling, green 
 walls and russett floors ; and yellow ceiling, purple walls and 
 citrine floors, will be in nature's own harmony ; and if coloi-s, 
 tints, and tones be matched with care and taste, the rooms thus 
 de(X)rated will never be out of key with true taste. It follows, of 
 course, ihat fui'niture and its covering should be chosen so as to 
 carry out this key note, and pictures and ornaments will then be 
 seen in their full importance. 
 
 Ornaments. 
 
 Here, however, I would like to observe that nature does not 
 seem to concern herself much with ornaments, as ornaments — 
 though all her work is highly ornamented witii fitness and beauty. 
 Life and use and purpose, she does seem to pursue with a refined 
 loveliness of style that only the few ever perceive, but the non- 
 descript thing called an ornament does not exist in nature; for as 
 soon as the graceful and lovely thing which nature makes use of 
 for certain pui'poses of her own, ceases to be of use, she quietly 
 
LECTURE BY PROF. WALTER SMITH. 
 
 43 
 
 burieH it out of sight, transforming it to other purposes and other 
 needs — fertilizing the productive powers of the earth with the 
 beauties of the past, and otfei'ing the repose of decay to fructily 
 the energy of the future vitality, ■ i w.p ; 
 
 ;, There is a grim and awful deadliness of purpose about this 
 which teaches us that our chimney decorations and mantel-piece 
 ornaments are frivolities ; that as soon as an object is too good to 
 be used it ought to be buried ; for the useless, in nature's scheme 
 of action, whether decrepit men or faded peacock's feathers shed 
 from the last moulting, are simply interred, in nature's economy. 
 Who was it said that 
 
 " Imperial Cassar, dead and turned to clay, ' " 
 
 Fills up a hole, to keep the wind away." ? 
 
 Yery irreverent, whoever said it, but just and awfully true to 
 nature ; for whilst all her woj'ks are oi-namental, such a thing as 
 an ornament, irrespective of some economic use, is absolutelj* un- 
 known to her, and the ashes of the past are always emplo^^ed as 
 fertilizers of the future. As if nature, with all her wealth could 
 not affoi'd to maintain dead-heads or encumbiances, but requires of 
 all her creatures either life, or the materials of life. 
 
 I have been led into this line of thought by the very comical 
 vagaries of the people who have been called esthetes, who nail 
 up on verti(;al walls, which were intended to display pictures 
 and engravings, porcelain plates, which the sensible people 
 who nuide them, intended tO be placed horizontally on the table, 
 to be sensibly used, lielieve me, there is no hall-way house 
 between the honest service of an object of iudustiial art, like a 
 plate, made to be used, a!id a work of art to be placed on a wall, 
 made only to be seen. Hoist up at the mast head the tiag of our 
 country, by all means, and nail it there when necessary ; but do 
 not run up the round towel, or handkerchief of our ancestors, 
 because they nuide it, and we respect their taste. 
 
 " " Backgrottnds and Pkjturks. 
 
 The wall is a background, to give soothing color to the eye, il' 
 left bare, and to display pictures il' placed upon it, Distincit lines, 
 either vertical, lrt)rizontal or obli<jue, should be avoided in its 
 covering; and if paper hangings be employed, no pattern which 
 is discernible in the middle of the lOom should be tolerated. Leant 
 of all should any piu^miueut or distinct color ever appear upon it, 
 
44 
 
 HOUSEHOLD TASTE. 
 
 or appeal to the eye or intelligence for consideration, in competi- 
 tion with the pictiiren, or indeed with anything. The veriest curse 
 of onr time, both indesign and in life, is the desire to be promi- 
 nent and important ; as if there was no wisdom oi* ti'uth in the 
 edict, that he who would be the greatest and chief amongst us 
 should be the servant of all. 
 
 A wall decoration, either in fresco or paper, and a carpet or 
 floor-covering which attracts attention either of the eye or the 
 brain, are impertinent and out of plat^e, interfering with things of 
 more importance, and destroying the harmony of eti['ect which 
 they ought to subserve. i i > n 
 
 Upon the wall of my house F hang a small picture, which has 
 cost at the rate of ten tJiousand dollars a yard of superficial area, 
 and 1 want neither fresco nor paper hanging, worth perhaps ten 
 cents a yard, to obscui-e it from my vision. Around my hearth I 
 gathei- ray friends or my children, and T want no tapestry carpet, 
 with its bouquets of flagrant flowers, its scarlet inflammations, or 
 its cerulean blues, oi- golden rays, to make them invisible or unim- 
 portant to me. And so in the interests of good taste and of com- 
 mon sense, 1 should regi'et all decorations of my home which, 
 under the pretence of being brilliant, sacrificed my choicest 
 treasures, 
 
 KroHT Principles in Design. 
 
 The second element in the formation of taste is a knowledge of 
 the eleinen * } principles of good design, acting as a guide in the 
 choice of tasteful objects. The general effect of color in a room 
 is of the first importance ; the character of the design shown in the 
 objects comes next. A sh<jrt epitome of some principles accepted 
 by the most cultivated authorities should here find a place, and 
 are therefore now recapitulated. 
 
 Carpets and Wall-papers. — As before stated, both the wall and 
 floor are to be considered as backgrounds to display pleasing 
 ett'ects of color and help to furnish and give chai'acter to the 
 room. The surfaces of wall and floor are flat, and it is essential to 
 both comfort and safety that a floor should be flat. Neither wall 
 nor floor should have ornament upon it which by its shading or 
 perspective ett'ects destroys this appearance of flatness. Therefore 
 bouquets of highly-colored or shaded flowers, landscapes, animals 
 or birds, which suggest distance, destroy the first essential of wall 
 or floor, flatness of surface. All direct imitations of natui-e in wall 
 
LECTURE BY PROF. WALTER SMITH. 
 
 45 
 
 and floor decoration are wrong in principle. The floor 18 a hori- 
 zontal plane, and the carpet pattern Hhoiild not lead the eye in 
 any one direction more than another. A carpet dewign which has 
 a right way up or a wrong way uj), will he i-eversed half the time 
 or to hall' the people who look at it. The wall, on the other hand, 
 Ih a vei'tical Hurt'ace, and the design may properly have a vertical 
 tendency or growth ; if it has any, though an all-over pattern, as 
 designers call it, such as is necessary to a floor, is equally suitable 
 to a wall. 
 
 On the floor there sh(>uld be no white, and on the ceiling no 
 black. On neither wall nor floor should the pattern evei- lead the 
 eye in any one direction by prominent lines, oi- pronounced fea- 
 tures apj)earing t regular intervals ; for this is fatiguing to the 
 eye, and if upon the wall, will destroy the ett'ect of pictures. 
 
 Woodwork- Furniture. — As a rule, the most beautiful ett'ects ob- 
 tainable from a right treatment of woods will be found in a strict 
 preserv^ation of their natural color and grain, which i>s quite prac- 
 ticable when wood is protected from the action of the weather, as 
 it is in a room. A stain is less objectionable on wood than paint or 
 opaque pigment, for the stain leaves the grain visible ; but a clear 
 transparent vai'nish or polish which leaves both native color and 
 grain, is preferable to either stain or paint. 
 
 According to the nature of wood, its strength and service can 
 only be secured l»y res})ecting its growth and structure. Wood is 
 tibrous, and its fibres run in straight lines, generally, (fitting 
 across the grain destroys the strength of thi^ wood, and thus curves 
 which are used to ornament furniture generally weaken its ability 
 to serve. Straight-lined furniture in wood is both stronger and 
 in better taste than curved, and in the consti'uctionai portions, 
 the straight line is a necessity. When, however, wood is steamed 
 and bent, allowing the flbrc to run from end to end of the picec 
 used, it retains its strenth in the curved, as in the sti-aight line. 
 It carving be employed, it should never be pei'mitted on parts 
 requiring strength, or constructional parts, rjor be in any poi'tion 
 where use would wear or destroy it. On genera) principles beware 
 of curved or carved or highly ornamented wooden furniture, 
 especially of chairs with curved legs, for their moral character is 
 untrustworthy. Our ancestors who believed in high and straights 
 backed chairs had the right idea about the proper use of wood ; 
 but they were upright people with backbone who could endure 
 unto the end; unlike the people with gelatinous spines of modern 
 
46 
 
 HOnSEROLD TASTE. 
 
 timoR who need ' nlecpy hollowH ' to til their crookednoHH and lovo 
 of luxury. 
 
 Crorkenjware. — The lovo of ornsimcnt Ikmii^ human it is hut 
 natural that ignorant |KM)plo Hhould run int;0 oxcoss in thoir uho of 
 it. In dress, this is ealle<l finery, and finery is essentially a vulgar, 
 repulsive thin^. Some ohjects should not. he ornamented at all, 
 thou/T;h they may he made beautiful in form. Let me illustrate this 
 by a eritieism of two pitehers. A piteher is a vessel used to eon- 
 tain li([uid, whieh should he easily ])ut into it, and poin-ed out from 
 it through its appro[)riateness of foj'm. Jt must stand firmly ; its 
 handle nnist he of a size and shai)e thatit (;an he seeurely eari-iod, 
 and its spout eapahle of dii'ecting the stream, when poured out, to 
 the place where it is i'ec[uired. Its mouth should he large enough 
 so that the human eye ean see eveiy part of its inner suit'ace, and 
 the hand reach it for the ))Ui'pose of cleaning it, for cleanliness is 
 essential to its service. A goo<l lionest pitcher which is capable 
 of this, and having also a thoroughly impei'vious glaze, so that no 
 absorption of its contents is possible, is what we require i . ])rac- 
 tical use. Anything added to such a vessel, for the sake of orna- 
 ment, must not interfere with the primary capacity for service 
 which has been described. 
 
 Examples. 
 
 Here is one pitcher which is rcit ly to do Just what is wanted, 
 but it has no ornament of any kind on it, though its shape is agi'ce- 
 able ; and here is another not ahsohitely white, like the first, 
 whi<;h has a modest form of ornament in the shape of colored 
 lines, and simple I'epetition of conventional shapes, and it is equally 
 faithful in its offer of service and pleases the eye by the relief of 
 its color. 
 
 Here again is a thing which is sold as a pitcher, though it is 
 really first of all a statuette of a codfish, its tail twisted back- 
 wards and joitied to the middle of its back, to form a handle; it 
 stands upon its stomach, and its open mouth is both spout and 
 mouth of the pitcher. Colored with all the skill of modern 
 pottery and glazed successfully, it looks like a fish just taken 
 from the water going through the paroxysms of its dying agony. 
 You take hold of this slimy-looking fish by the tail, and through 
 itB locked jaws pour out from its internal economy the liquid 
 which you are supposed to need. If you look down this cavern- 
 ous throat into the hollow interior, there will be found a mys- 
 
LECTURE BY PROF. WALTER SMfTR. 
 
 4T 
 
 terious tunnel which turnN up tho tuil, thai no eye can over reach, 
 and where impure accumulations may cxiHt, not conducive to the 
 purity of the contcntK of thin vessel, hjwl thoy heen t)riginally 
 pure, which their surroundinujs would not suggest. 
 
 Can anything be more disgusting (han this idea, could a more 
 inconvenient or unsuccessful pitcher be designed? 
 
 This is the crime of pretentiousness ; the desire to be more 
 important than your business warrants; to posture before the 
 woi'ld {IS a work of art, when you set out with the intention of 
 being a useful pitcher; betwei n these two stools you fall to the 
 ground, for you succeed in being neither useful nor beautiful. 
 
 PRINriPLES. 
 
 Such outrages as these are not rare, and the priiuipic which is 
 violated is the same in all, viz., common sense, utility and fitness, 
 sacrificed to show and pretence. 
 
 Simplicity is a characteristic of refinement, adaptation to pur- 
 pose a condition of useful and faithful service, and proper sub- 
 ordination of pai'ts to the whole, each part or object keeping its 
 place and being equal to it, is necessary for harmonious results. 
 
 Strong and permanent workmanship on sound and honest ma- 
 terials, with simple and refined taste, will produce objects that 
 •w'lW satisfy both body and mind, the useful and the beautiful — 
 and never go out of fashion, for age will only add the interest of 
 antiquity until affection enshrines them as household gods. 
 
 The cabinets, chests, and oaken furniture which we see in 
 museums and collections, and the potteiy and glass which are so 
 costl}' and precious from their beauty and antiquity, were created 
 in this spirit and on true principles, and have arrived at the in- 
 evitable appreciation which is the just due of honest and skilful 
 workmanship ; after giving pleasure and service to their (U'iginal 
 owners whom they have outlived, (hey represent their taste and 
 habits to their posterity, to whom they are a precious possession. 
 
 Influence of Architecture. 
 
 The revival of Gothic architecture in this century has given 
 great encouragement to honest and skilful workmanship in in- 
 dustrial art. The stained glass, metal work, encaustic tiles, wood 
 and stone carving, embroidery, surface decoration, and other 
 ornamental accessories required in the sanctuary or the civic 
 temples, have created a love of good and sterling work which 
 
48 
 
 HOUfiEHOLT) TASTE. 
 
 
 haH Spread to tho domestic hearth, and has completely changed 
 the standards and ideals by which household furniture is Judged. 
 This change is for the bettor, and the constantly spreading in- 
 terest felt in art education, has developed a constituency capable 
 of appreciating \hv improvement and being aflPected by it. 
 
 The best results may be anticipated from this great change, 
 and it will become yet more universal. Lord Beaconstield once 
 said at the opening of some model lodging houses for working 
 men, that he had no doubt most people eat too much, some drank 
 too much, but that it was impossible they could be too well 
 housed. 
 
 The influences of home being so potent, as we find them, atTect- 
 ing the lift^ character of the people subjected to them, there is a 
 responsibility in furnishing a house that becomes even moi-al. Tho 
 tasteful parent will discard all shams and pretentious things, all 
 excess (»t ornament and vulgar ostentation, and see that from his 
 pictures down to his plates and pitchers, every object in his house 
 is sound and strong, skilful and beautiful in simple taste, trust- 
 worthy and lasting; Just as in another way he would like his 
 own children to grow up to be, in their characters and dispositions 
 
 and life. 
 
 General Principles. 
 
 Though household taste affects everything which goes to fui-- 
 nish a house, it is only possible in this talk of an hour's duration 
 to refer to typical illustrations, which may be considered as test 
 or repj-esentativo cases. Unquestionably, more bad tjiste arises 
 W'om the confusion of the distinct scope and field of ornamental 
 01' decorative art, and of fine art, than from all other causes put 
 together. Once get a clear perception of the purpose, language, 
 resources and limitations of works of purely fine art, recognizing 
 thcii' essential difference from the same features in industrial or 
 decorative art; then see how the character, fitness and beauty 
 of either is destroyed by attempting to invade the domain of 
 the other, how fine art is desecrated by utilitarianism, and how 
 an industrial object becomes a pretentious sham when it aspires 
 ^o bo above its usefulness as. a first condition of existence — and 
 then the whole horizon of household taste becomes luminous 
 with principle, and its details can be applied and understood in 
 all varieties of theme or subject. 
 
 This distinction of treatment and language is so important in 
 a correct estimate of the character of the two branches of art, 
 
LECTURE BY PROF. WALTER SMITH. 
 
 49 
 
 f'lir- 
 tion 
 tost 
 
 isos 
 tital 
 
 put 
 age, 
 zing 
 or 
 4uty 
 n of 
 
 lOW 
 
 n res 
 and 
 
 lOUM 
 
 1 in 
 
 t in 
 art, 
 
 that I have boon accustonu'il loiiuproHH upon students the follow- 
 ing comj)ai'ison ot" siniilui' tcrtturos ii> both, an showing their dis- 
 tinction and ditl'erencc ol resources and chanuMor : 
 
 The lanow^ge of Industrial and Fine Art compared and contrasted. 
 
 • "I 
 
 ., I.; 
 
 i 'II ' 
 
 ,'.1! 1 !■ 
 
 I,\t)U8TmAIv AltT. 
 
 should be 
 
 1. Ornamental, and not 
 
 2. Conventional, " " 
 
 3. (Icometrical, 
 
 4. Repetitiori(al) 
 
 5. Svnuueti'ical 
 
 u 
 
 Fink Aut. 
 should be 
 
 IMctorial. 
 Natural, 
 show Pei'sptH'tivo. 
 Variety. 
 
 I Xon-Synunetrical. 
 
 Language, much less single words, can hardly convey accur- 
 ately that which is so much a matter of sight, but here are illus- 
 trations which will convince you how generally true this table of 
 distinctions is. 
 
 iLLUSTRATfONf^. 
 
 Here, for instance, is a [>ai»er-hanging, and thei'e is a carpet, 
 both in the best of taste, the design on botli being (1.) Orna- 
 mental, (2.) Conventional, (8.) (-Jeometi-ically arranged, (4.) 
 Patterns are frequently repeated, (5.) Details are symmetrical, 
 and in no part of either is there any attempt at shading which 
 would destroy tijitness, or bright color which attra«-ts attention to 
 one place more than another. , ; • 
 
 Here, again, to compare whU these good examples iiw a [)aper- 
 hanging and a carpet which display all the charactei'istics of 
 works of tine art coarsely reproduced b}' block-}>rinting or weav- 
 ing, and they are as wrong in principle and as nauseating to look 
 at as cheap imitations of bettei- things usually are; they display 
 (1.) Pictorial ti-eatmeiit of flowers and landscai>es and birds, (2.) 
 Naturally treated an<l coIohmI, (;>.) Persjiective and shading giv- 
 ing distance and eflFect of holes through walls and floors, (4.) 
 Variety-, and (5.) Absence of lineai. symmetry ; all these features 
 give them the character of works of fine art — yc^t if they are 
 judged by its standard, each wearisome unit becomes an otiensive 
 vulgarity. 
 
 On the other hand, a picture which ignores the tive essentials 
 of a work of tine art, or even approximate in its treatment to the 
 ornamental or decorative featui-es of industrial art, loses its high 
 character and chief value. But I hold in my hand a true (1) pic- 
 
50 
 
 HOI'HKIIOI.D TASTE. 
 
 
 inre. (2.) drawn from Naturo, (li.) in Hkilt'nl perRpoctive, (4.) 
 nhowin^ Natiirc'H <»'V'n vurit^ty, tor no Iwo pai'tn or even touchcH 
 are a'iko, (5.) an»! though well Itahincod an u (.'ompoMitioi), every 
 part anil the whole ih non-syinnietrical. It is a getn hy a great 
 artist. Vet if this picture were ehroinoed an<l repeate<l as pait 
 of a wall pap(!r round i room, it Mould heeome an unheaiahle 
 nuisatice. The pieture frame which contains it has all the five 
 foatui'es of good industrial art, and is eminently satisfactory and 
 in good taste — a titling industrial setting U) an artistic jewel — 
 each keeping its place and giving value to, becauso not competing 
 with the other. / > . , rj i 
 
 ' ' ' ' " '' (>KMONSTRATION. 
 
 Kegarding ihih picture as worthy of being seen, I place it now 
 on the wall covered by the modest bac'.igrouiul, wall j»a[)cr, which 
 1 have described as being in good ta^lc, and you will observe how 
 distinctly we can see it; and how the <'Ool sage-green paper on 
 the wall brings out into prominence the brilliant work of art, and 
 soothes the eye whilst we look at it. This, again, is true 
 subordination of the lower to the higher, an ordered harmony of 
 action and efllbrt. 
 
 But let me place it on this wall, which is covered by bourpicts 
 of scarlet flowers and radiant prismdiic humming birds, and the 
 retined work ofai't disappeai-s and fades away by theconn)arison, 
 whilst only these monotoiiouw intlammations are left visible as a 
 substitute; thus the higher .'s sacrificed to the lower, and the 
 competition between the two results in jangling discord. [The 
 lecturer, at this point, introduced many usefid objects, atjd criti- 
 cised them before the audience as being in either good or bad 
 taste, explaining his reasons for praising or condemning them.] 
 
 n i. 
 
 Common Sense in Criticism. 
 
 In all these selections you will obi erve that only very common 
 objects have been taken, for it has been my endeavour to explain 
 and illustrate principles which depend on common sense or 
 mother wit, which we are all su[)2iosed to have, and which enables 
 us to understand much that is necessary to our happiness, if our 
 critical attention be called to it. But the application of these 
 principles with judgment and knowledge, will enable you to form 
 a just and reliable opinion on every branch of industrial, or even 
 
/PURE BY PROF. WALTER SMITJI. 
 
 51 
 
 of'Hrioai'i, siirticionl Jit IcjihI to proU'cl yoii from incoiiHisterit or 
 
 (•OMHpicUOIIH CXMIIiploH of \>iu\ IJIhIO. 
 
 Without jillowin^ oiirsolvos to Ih> takt>i» fiiptivo l»v tho Ian- 
 /^uiHliiii^ KHtlictos, tluM'o iH no roason vvliyujood taste, that which 
 JH to many an umiiscovort'd realm ()f'puro enjoytnent, should not, 
 Itocomo our <laily possessiod, as it is our undouhted birthright; 
 cnahling us to make our homos heautit'ul. 
 
 I would distinctly claim and impress upon you that there is 
 reason and consistency in these principles of design which de- 
 termine what is good art, or had art, and that some art has a 
 healthy and improving inHuence upon us, and some affects us 
 detrimentally; and that this is caused hy the operation of hiws 
 to which our senses and minds are suhject, and in the ratio of 
 their sensitiveness and pow(M's. Kor tJKMigli the operation of 
 these laws may he more subtle than some others, yet they exist 
 as tangibly as the law of gi*avitation, and are as little matters of 
 opinion as tht; action of the tides. 
 
 The Rekjn of Law. 
 
 u«>ts 
 
 the 
 ison, 
 
 as a 
 Ihc 
 
 The 
 •riti- 
 
 bad 
 
 ■] 
 
 moni 
 liain 
 ■46 or 
 ables 
 f our 
 those 
 form 
 even 
 
 Ind veare gra<lually being educated into knowing that law 
 
 and not accident governs the universe and all it contains, thoughts 
 as well as things. Nature is really very scientitie in her methods, 
 and from the same causes produces the same i-esults, every lime. 
 She nevei" appears to resort to specitics or rule-of-thumb [U'ocesses, 
 but goes to work in the same old scientific way, and leaves us to 
 call it what we like. When by long and patient study wo some- 
 times discover one of nature's very simple laws, we call it by a 
 proper name, and understanding more or less the phenomena 
 which arise from the operation of that law, no longer describe 
 them as accidents. 
 
 But if ignorant of the law, w^e employ such names as mystery, 
 miracle, accident, to hide our ignorance, and having labelled the 
 phenomenon with a no-name, go on onv puzzled way, rejoicing. 
 Only, as a matter of fact, the mystery, miracle, or accident arises 
 from the t)peration of law, all the same. 
 
 The Ministry of Art. 
 
 So there is a law of musical harmon}', a law of color har- 
 mony, a law of fitness and consistency in design and taste, 
 based on nature's works and adapted to satisfy in an intelligent 
 
m '<■■ ' HOUSEFrOL t) TASTE. 
 
 manner man'H necesHi.tioH, whotiior physical or intcliectual, and 
 be his faifhful minister. The ministry of art to be permanently 
 gratilying and peronially fragrant and boantit'ul, must bo based 
 on the true poetry ofHcientitic truth ; recoi^ni/.e and comply with 
 this principle of law and order which j)ermeate8 tne universe, Ite 
 beautiful in itw expression, consistent in its means, and elevating 
 in itH tendencies. So also with industrial art, upon which house- 
 hold taste depends for its means of gratitication. It must find 
 out and apply laws of construction and adornment, as the archi- 
 tect and designer has made and applied them; tirst keeping 
 . strict faith with our physical necessities by furnishing honest 
 material and skilled worknumship, before it undertakes to show 
 us how elegantly its sei'vice can be perfornie<l — lu^t in its pre- 
 tentious effort to be important or pass itself oti as sometimes 
 better than it is, competing with the purely mental office of fine 
 art, beguile us into a misplaced confidence, as deceitful as the 
 dead sea apples, and as disappointing. 
 
 Faithful Service. 
 
 The firsi condition of service is (hat it shall serve: next, that 
 it shall be as graceful and atti'active as is consistent with its 
 office when adapted to its purpose and fit for its work ; for then 
 the necessities of the body are ministered to, and the aspirations 
 of tho hunuui luind are satisfied. 
 
 This nuiy be illustnrted by the \\t\y in which the common- 
 sense critic would lest the worth of ;.n object, as a purchaser 
 might before buying it, by asking himself these questions: 
 
 Will it last? //ones/*/, first, of matei'ial ; is the answer. 
 
 Ir it convenient and well made ? Skill next, in woi'kmanship; 
 is the answer. 
 
 Is it attractive looking? Beauty, last, in adornment; is th<»- 
 answer. 
 
 Having asked each of these questions, let him look for that, 
 which is the only true answer, and if he finds it not. i-efuse to be 
 a buyer. It would be attic taste t,o subject everything that was 
 offered for sale and that you wanted to buy, to just such a cus- 
 tomer's catechism as that, for sound and good manufactures would 
 bo benefitted by it, and pretentious frauds would be killed. 
 
 Industrial Art alone criticlsed. 
 You will notice that 1 have jiurposely avoided dwelling fully 
 
LECTURE RT PROP. WAITER SMITH. 
 
 58 
 
 luil, and 
 Hiiently 
 »o bascfl 
 ily with 
 erse, be 
 Icvating 
 li house- 
 ust find 
 lO airlii- 
 kceping 
 ^ honest 
 to kIiow 
 its pve- 
 metimes 
 ;e of fine 
 1 as the 
 
 loxt, that 
 with its 
 for iheri 
 )iratioiis 
 
 'onimon- 
 iiurhaser 
 
 is : 
 
 H". 
 
 iianship; 
 
 • \ is th(^ 
 
 for that 
 lise to he 
 
 ihat was 
 Ih a ous- 
 p would 
 
 i. 
 
 Ing fully 
 
 upon the canons of criticism applicable to works of fine art, as 
 being relatively unconnected with this subject, which is broad 
 enough in itself. 
 
 CoNOLrstON. 
 
 There can be no doubt that good taste in the adornment of a 
 home is no more costly than good grammar in speaking and 
 writing, but it does cost as much to acquire as thorcagh a 
 knowledge of one as of the other. The most suitable Slvm com- 
 fortable and tasteful things ai*c not always the most expensive. 
 
 The wealthy man cj'n, as a matter of course, secure for himself 
 a more luxurious h(^me than is possible tor the poor man, but 
 there is no reason why, accoi-dlng to his means, ever}' man should 
 not display good taste in his surroundings, on his own hearth. 
 Art was once the privilege and luxury of the few, Just as power 
 was their prerogative and learning their monopoly ; and except 
 in public places and buildings, it may yet be the case that Fine 
 Art and its nuisterpicccs may be beyond the i-each of the many, 
 as a personal possession. 
 
 Yet this household Art, though more humble in its aim, may 
 be as genei-al as are tlic homes of the people, and add to their 
 happiness by its influence and associations; for taste is to the 
 home what politeness and good mannei's is in human (;ojidu('t — a 
 question of knowledge, not of ex]>ense. The tendency of modern 
 times is to increase the ])0pular knowledge and intelligence by 
 education, to distribute power and political influence among the 
 masses by bi'oadening the basis ot repiesentation, and nuikingtlie 
 people the judge's of all im])ortant (juestions. 
 
 So also the greatest modern niovement for the elevatl(Mi of tb.' 
 majoi'lty and the increase of the wealth of all, is that which s 
 now encircling the whole world in its action, the efloi-t to adt> to 
 the general education of the ])eopl3, the opportunities foi* educa- 
 tion in art and science. 
 
 This is rapidly afleeting j»oj>ular laste in all e()unti-ies which 
 participate in the movement, and its results will be the ditlusion 
 of greater personal .'omforts and enjoyment of life through all 
 classes of society by an increase of theii* productiveness. 
 
 There are some things so precious and good that a man who 
 possesses them for hiniself, cannot vvholly enjoy them unless he 
 shares them with all, and when they exist for one there is enough 
 
54 
 
 HOUSEHOLD TASTE. 
 
 of them to go all round; such as liberty, equal rights, pure air, 
 education, coramercial integrity, good government. 
 
 In this young and progressive country, broad enough, natur- 
 ally rich enough, and strong enough, if developed as it will be, 
 to become the home of a hundred millions of men ; free, pros- 
 perous and cultivated, independent, fearless and powerful, I ven- 
 ture to hope that the material prosperity which smiles upon it 
 will be sweetened and consecrated by a love of the beautiful, 
 equal at least to the patriotic pride its peop'e feel in being part 
 of the greatest Empire on which the sun ever shone; and that 
 every man's house being his castle, it will possess fi-om the thres- 
 hold to the hearthstone, from the foundationn to the roof-tree, the 
 comforts and refinements of a solid prosperity and of a true 
 Household Tpste. 
 
 I . t . 
 
 • - I 
 
 •■ ;- ; ;. t 4 4 /, 
 
 <i '- H 
 
 ,..,f. 
 

 i>t* 
 
 }-■ 
 
 ..« 
 
 '*; i((; 
 
 M;' 'Hi s'^.'f :: 
 
 ) ii •-;. 
 
 NOTES FOR TEACHERS. 
 
 ■ ! rH VM 
 
 Notes and Suggestions, or Synopsis for Teachers, on a graded 
 
 programme of Drawing for Public Schools, during 
 
 twelve years of School life. 
 
 n<:"' 
 
 I'Hj ■ " I' I M. 
 
 M t 
 
 Utl 
 
 PREPARKD BY 
 
 WALTER SMITH, Art Master, SOUTH KENSINGTON, ENGLAND, ; 
 
 .'i ... 
 
 Principal of thp. New England Conservatory School of Fine Arts, 
 Boston, Mass., U.S.A. , ,. . , , 
 
 Preliminary Statement. 
 
 M 
 
 t 1'./ 
 
 Exercises in drawing, like tlione in otlior subjectH of ele- 
 mentary education, muHt be adapted to the average capacity of 
 pupils when the instruction is given in classes. They nuist he 
 progressive and connected, from the lowest class to the highest; 
 but, in the higher classes, when, as in drawing from objects, the 
 instruction becomes individualized, the exercises may be varied 
 to suit the varying capacities and })owers of individuals. 
 
 Whilst the common principles of representing form by lines,' 
 shade, or color, are thus to he taught to all, unlimited scope for 
 orginality in the application offormsisto be givj'n by elemen- 
 tary designing; the pi-actice of I'c-arranging old forms in new 
 combinations, oi' oi'iginating new ornamental treatments of 
 natural forms, being the outlet for spei'ial capacit}'. 
 
 To give instruction in drawing intelligently, and promote 
 general suc(^ess, teachers should take |»ains to understand the 
 aim and object sought to be accomplished by the study, and 
 have in their minds a clear idea of how this is to be attained, 
 so that they may all, in the several grades of their schools, be 
 able to do their shares of the work. 
 
 This necessitates the adoption of a plan or programme of 
 drawing, in which the tinal lesult aimed at is definitely fol- 
 lowed from the first, every grade of school and each class in 
 
56 
 
 NOTES FOR TEACHERS. 
 
 the ["grade [having its woi-k allotted to it, advancing from the 
 lower and preparing for tlie higher grades or classcH adjacent to 
 it on either Hide. 
 
 In Hiich an ari'angement, scheme, or plan of study, the ages 
 and mental capacities of scholars have to be considered , and, as 
 these var^^ in individuals of the same graile or class, an average 
 type must be taken and provided for in the several grades. In 
 a well-considered and progi-essive plan, the work in the several 
 grades, though of equal iiu])Oi'tance to tlie final result, will 
 differ in subject and character, according to its place in the 
 j>lan, from that which goes before or follows aftei* it, just as 
 the base, shaft, and capital of the column are unlike each other, 
 though together they form one object. The Ibundation, supei- 
 structure, and ornament of a building may be in different ma- 
 terials, but, associated, become one fabric; so the drawing in 
 the primary, grammar and high schools will vary if it is to be 
 in harmony, and each note, whether high or low in the scale, 
 will be part of a perfect chord. 
 
 The drawing required to be taught in the public schools is 
 industrial drawing, not pictorial drawing. It has been so de- 
 fined in tlie statute, becaust; the accuracy of workmanship and 
 good taste in-- design, which sound insti-uction in drawing im- 
 parts to the creators of industrial j)roducts, are of general 
 interest and pecuniary value in manufactures, whilst the men- 
 tal habit which scientific accuracy and love of the beautiful 
 will develop in the minds of all will be a social advantage. 
 Experience has proved that the surest way of elevating jiublic 
 taste and improving all manufacturing industries is to educate 
 all the people in the elements of art and science in pi'imary 
 schools, and to supplement this by instruction in technical sub- 
 jects given to adults in secondary schools (schools of art or 
 science, or the evening drawing classes.) This will give general 
 information* to the public, who are consumers, and the germs of 
 a developed taste to all, and s])ecial instruction to the few 
 originators oi' ])roducers whose occupations requiie great 
 manual skill or higher and further knowledge of particular ! 
 branches of art industry. It will also open the dooi* wide 
 to all those who have especial tendencies in a creative di- 
 rection, and insure that no budding genius be overlooked or 
 misdirected. 
 
 The only way in which all children can be taught to draw, 1 
 
BY PROP. WALTER SMITH. 
 
 57 
 
 I age, 
 
 raw, 
 
 as an element in all education, is by the qualification of all 
 teachers, according to their several grades, to give the instruc- 
 tion. Special teachers are out of their places when employed 
 to teach an elementary subject in the primary grades of school ; 
 and any such instruction given by them will l»e costly, inotti- 
 cient, and will gradually disappear, because the })upils will not 
 be suflSciently interested to learn well any thing which their 
 appointed guides, the regular teachers, are not sufficiently inter- 
 ested in to leai'n at all. 
 
 It is pi'esu])posed that those who have to teach an element 
 of education will be practically and theoretically acijuainted 
 with it ; and these suggestions, theretbre, are made with a 
 view of showing what to teach, rather than the method 
 of teaching it. All teachers who are competent to teaeh 
 writing and arithmetic, can readily (qualify themselves to teach 
 drawing, which, in its elementary stages, is but a combination 
 of the two applied to form, and appealing to the mind through 
 the eye; noi- does it require exceptional ta.ste or great manual 
 skill to teach elementary drawing to children. In so far 
 as the subject applies to regular forms, upon which a know, 
 ledge of irregular tbrms must be based, whether plane or soU'l, 
 and even to the extent of the appeai-ance of ol>Jects, and 
 effects of light and shade upon them, all is dependent on the 
 understaii.iing and reasoning powers, and not upon taste oi- 
 manual skill. The truths of the multiplication-table are not 
 dependent on the beauty of the Written numei-als, and form is 
 as much a matter of proportion as arithmetics The sense or 
 dignity of a sentence does not come from the skill shown in 
 the handwriting, but in the thing said, and the graceful and 
 grammatical mode of expression ; so, in drawing, the value 
 of a work arises from its truth as much as irom its style ; and 
 its chief value in education is, that it may have made its pro- 
 ducer <'aj)able of seeing what was invisible to him before he 
 made it, think new thoughts, and cast away old ignoraiu'c. 
 This applies to the elementary branches of drawing, and may 
 or may not be applicable to its nuu-e exalted jdiases; but it is 
 because teachers iiave to do with these elements that the <lis- 
 tinction should be made, and the difference, if any, be explained. 
 In general education we have to teach what can be learnt by 
 all, and is useful, directly or indirectly, to all, leaving to advanced 
 and special education that which may be required by the few, or 
 
58 
 
 NOTES FOR TEACHERS, 
 
 possible of attainment only to gifted or fortunate persons with 
 peculiar privileges, whose needs are not of public concern. 
 
 The following pi-opositions define the position taken on this 
 question of industrial drawing in the public schools : — 
 
 1. All children who can be taught to read, write, and cipher, 
 can be taugnt to draw. 
 
 2. Drawing, is to be taught to every child as an element of 
 general education, like reading, writing, and arithmetic. 
 
 3. As an elementary subject, it should be taught by the regu- 
 lar teachers, and not by special instructors. 
 
 4. The ti-ue function of drawing in general education is to 
 develop accuracy of perception and to exercise the imagination, 
 thereby tending to produce a love of order and to nourish 
 originality. 
 
 5. Educationally, drawing should be regarded as a means foi* 
 the study of other subjects, such as geography, history, mechanics, 
 design. In general education it is to be considered as an imple- 
 ment, not as an ornament. 
 
 6. The practice of di-awing is necessaiy to the possession of 
 taste and skill in industry, and is therefore the common element 
 of education for creating an enjoyment of the beautiful, and for 
 a profitable, practical life. 
 
 7. In the primary schools, drawing is elementary and general ; 
 in the normal and evening schools, advanced and special, — for 
 teaching purposes in the first, and for skilled industry in the 
 second. 
 
 8. Good industrial ai-t includes the scientific as well as the 
 artistic element; science securing the necessity of true and per- 
 manent workmanship, art contributing the quality of attractive- 
 ness and beauty. The study of practical art by drawing should 
 therefore comprehend the exactness of science by the use of 
 instruments, as in geometrical drawing and designing, and the 
 acquisition of knowledge of the beautiful, and manual skii.l in 
 expression, by freehand drawing of historical mastei'pieces of art 
 and choice uatural forms. 
 
 9. Drawing may now, therefore, take its legal place in the 
 public schools as an element of, and not as a specialty in, edu- 
 cation, at as little cost as any other equally useful branch of in- 
 struction; with the prospect that at a future time as many per- 
 
BT PROF. WALTER SMITH. 
 
 59 
 
 he 
 lu- 
 (n- 
 
 sons will be able to draw well as can read and write well, and as 
 large a proportion be able to design well as to produce a good 
 English composition, or a composition in any language, either 
 ancient or modern, taught in public schools. 
 
 How TO Teach Drawing. 
 
 Beginning with the tirst year of instruction, about the fifth 
 or sixth of the pupils life, the details of time given each week, 
 length of lesson and subjects taught, with the order of instruction 
 and method of teaching are suggested as follows : 
 
 't.iii 
 
 Hi 
 
 f ' ' 
 
 FIRST YEAR. 
 
 IV 
 
 Two hours per week. Pour lessons, half an hour each. Pupils draw on 
 slates and blackboard ; teachers, on blackboard. ' ' ' ' ' ' ' 
 
 Subjects of Lessons. — 1. Drawing from blackboard straight lines and their 
 combinations. 2. Drawing from dictation. 3. Drawing from memory. 4. 
 Design, or inventive drawing. One lesson in each division every week. 
 
 1. Freehand. — Pupils to be taught the names of lines; as 
 straight or curved. The names distinguishing straight lines in 
 ditl'erent positions ; as vertical (u* upright, horizontal or level, 
 oblique oi* slanting. The relation of lines to each other; as 
 parallel lines, or at angles with each other: the names of such 
 angles ; as right, acuite, obtuse, — the teacher using the common 
 illustration to describe these. The combination of lines and angles 
 to make figures ; as triangles, square, rhombus, and rhomboid' 
 The names of the dirterent triangles. The division of lines into 
 equal parts; their sub-division. The division of figures by lines, 
 and names of dividing lines; as diagonal and diameter. Drawing 
 from blackboard, by direction and instruction of teachei", tbrms of 
 objects or simple patterns of ornament, all (composed of straight 
 lines. Length of lines and size of figiiics to be tested b}^ rule 
 and measure after being drawn, .i , - •. 
 
 2. Dk.'TAtion. — Drawing the same or similar exercises from oral 
 description, without blackboanl illustrations, beginning with 
 single lines m defined positions, then two orriore coinbined, Sim- 
 ple figures and their divisions, to teach names in conn«H'.tion with 
 forms. Variations of previous exercises to impress the value of 
 names; sucti as diagoiuil and diameter. Ruling lines of given 
 length through given points. Measuring the length, of indefinite 
 lines already j-uled. 
 
60 
 
 NOTES FOR TEACHERS. 
 
 3. Memory. — Drawing f»'om memory examples already worked, 
 forms or objects which are described by name ; such as the Greek 
 or Latin cross. Patterns remembered from copies on the black- 
 board. Tcjich practi(^al accuracy of work by requiring pupils to 
 measure the length of lines by the inch-measure after a fair effoi't 
 has been made by freehand, and test the straightness of lines by 
 the ruler, and the size of i-egular figures in the same manner and 
 by the same means. Encourage observation, create ideas, and 
 teach how to name lines and forms by questioning pupils about 
 right and wrong interpretations of terms, always illustrated by 
 diagrams made by teachers, and sketches on slates by pupils. 
 Occasionally draw an outline of some well-known simple object 
 on the board, and cali foi' criticism and analysis of its shape by 
 the class. Then cover it up, and require the pupils to draw it 
 from memor3\ Uncover it, and compare the copies with the 
 original. 
 
 M't 
 
 4. Beskjn, or Inventive Drawing. — Drawing of regular 
 forms — as the square, triangle, oblong — with ruler, and of a re- 
 quired size by measure. Dividing them into equal parts. Filling 
 each part with similar shapes, made by straight lines, or any form 
 the pupil may choose. Explain symmetry and repetition. In- 
 ventive drawing to be a recreation or amusement, and pursued as 
 in kindergarten schools. Children unable to do it, t( te allowed 
 to rest, and watch those who can, and never to be distressed b}'^ 
 their work. The first exercises to be in drawing the second side 
 of a symmetrical form or object, one-half being given on one side 
 of a central vertical line ; to teach balance and 8ymmetr3^ To 
 repeat a given unit in the remaining division of a foi'm, the first 
 being given, to teach the repetition. Thus, a star given in one- 
 third of an equilateral triangle, to repeat it in the other two- 
 thirds; or a cross given in the fourth of a square, to repeat it in 
 the remaining three-fourths. These units must be given first, 
 before the pupils can invent their own. In each lesson tr}-^ to 
 make a distinct impression about some one point, — either wh:it 
 symmetry is, or the name of some combinaJon of lines, or how 
 the pencil should be held, or how the head should be placed when 
 the drawing is being made ; and never try to teach more than 
 one thing in any one lesson. Be content in criticising to correct, 
 or call attention to, one deficiency at a time, or at a lesson, leaving 
 the others for future remark. 
 
BT PROF. WALTER SMITH. 
 
 61 
 
 .'.^ I V 
 
 to 
 
 SECOND YEAH. 
 Two hours per week. Four lessons of half au hour each. Pupils draw 
 on slates and blackboard; teachers, on blackboard. Card copies for each 
 pupil. 
 
 Subjectt 0/ Lessons. — 1. Drawing from blackboard straight lines and curves 
 in combination. 2. Drawing from dictation. 3. Drawing from memory. 
 4. Design, or inventive drawing. One leseon in each division in every 
 week. 
 
 1. Freehand. — Curvew explained: the simple curve, as struck 
 ■from one centre, being therefore pjiit of u circle ; the compound 
 curve, struck from more than one centre, as the ogee curve, or 
 line of beauty. The circle, and its parts and divisions, drawn and 
 explained. The ellipse and ovoid explained. Polygons, regular 
 and irregular. Combinations of curves and sti'aight lines to [U'o- 
 duce geometric figures; as semi-circles on the sides of CMpiilateral 
 triangle or square. Forms of objects — as kite, top, egg and egg- 
 cup, mouldings, or borders — made by simple curves and straight 
 lines. Vases, teacups, pitchers, glasses, mugs, rosettes, and star- 
 like repetitions. Simple and compound curves, balanced sym- 
 metrically on opposite sides of a straight line or axis. Common 
 objects and patterns drawn from blackboard. The same from card 
 copies. Enlargement (from cards) and reduction (from black- 
 board) in size, explained and illustrated. Forms of conventional 
 leaves, buds, and flowers, drawn and repeated upon vertical or 
 horizontal lines, or in rosette shape, about a centre. (;omp(>iind 
 curves in the outlines of pitchers, vases, &c. Freedom and ra- 
 pidity of work to be aimed at. Tangency of curves with cvtrves, 
 and curves with straight lines, explained and illustrated by exam- 
 ples to be drawn. 1 , 
 
 2. DRAWiNCi FROM DICTATION. — Polygons of even number of 
 sides, and the circle and its parts, of given dimensions, drawn 
 from oral instruction, without copies or use of blackboard by 
 toachei*, except to explain mistakes when (he lesson is over. 
 Lines of required length, and I'egular forms of given size, to be 
 drawn sometimes by freehand alone, and tested hy rules and 
 measure ; at other times, entirely by the rule and measure. Com- 
 parison and analysis of geometric forms, — square with rhombus, 
 oblong with rhomboid. Proportion illustrated and explained, 
 comparing form with form, and number with number. In early 
 lessons dictate to the class a simple form, step by step, and draw 
 it on the board — as each step is described completely — from be- 
 
62 
 
 NOTES FOR TEACHERS. 
 
 ginning to end. Whon the leHHon iH Ihus givon, examine and 
 conect Iho work only at the end of the lowHon, or at niowt (wi(;e 
 during the lesson. Toach economy of time in worlving with rule 
 and measure. 
 
 3. l)iiA\viN(j KROM Mkmorv. — Kxercises nlready worked under 
 the head of freehand, dictation, or design, ({rouping of the geo- 
 meli'ic definitions; as three positions of a sliaighl line, three 
 triangles, four four-sided figures, the circle and its |)ai'ls. Or a pat- 
 tern in which either the circle^ or j»art of it, the oval, or the ellipse 
 (lemon) has l»een used; or oiiO entirely composed of straight 
 lines. Vases of simple consti-uction, drawn previously from 
 blackboard, and rosettes, in which the element of re]»etition is 
 simple, ai'c gocxl examples for memory drawing; the element of 
 repetition being easy to remember, and its repetition tilling the 
 given space. Have the same exercise drawn from memory several 
 times, to form the habit of remembering ; refreshing the memory 
 by drawing the exercise on the board, and corrcM-ting previous 
 eri'ors by the pupils, before each repetition of the same lesson. 
 Draw on the board the outline of some simple form, — as a leaf, 
 lemon, or apple, — and leave it for the pupils to look at for a week 
 previous to tho memory exercises. When that exercise cojnes, 
 covei- up the drawing, and lot the class see by their sketches how 
 much they can remember of the form. When they have done this, 
 uncover the drawing, and let each pupil compare and correct this 
 with and from the original. Vary the mode and subject of the 
 memory exercises. 
 
 4. Design, or Inventive Drawing. — (leometric forms in which 
 curves are employed either alone, as in circle, or associated with 
 sti'aight lines, as in quatrefoils or trefoils on the sides of squai-es 
 or triangles, to be used as the enclosing forms for designs ; or the 
 hexagon oi' octagon, Avithout curvilinear additions. For material, 
 use the leaves ot plants, or leaves and open flowers, to be repeated 
 round the centre of the enclosing form an even number of times. 
 Ai' me.isuuements to be made by the ineh-measure, and all 
 straight lines to be ruled. Leaves of the simplest kind — such as 
 the heart-shaped trefoil, leaves, buds, or flowers — to be given as 
 materials, and the placing of them suggested in the tbrm chosen. 
 Much help from the teacher will be required by the pupils; and 
 it must be given with the hope of creating interest and confldence 
 and the love of arrangement. At convenient times of the year 
 
BY PROF. WALTER SMITH. 
 
 63 
 
 the teacher might obt*iin natunil loaves and flowern, arranging 
 them to till geomotrio whupeH, di-awn with chalk on the black- 
 board ; the Icavoh and flowers to be pinned ui)on the boaixi, or 
 made ahesivc by mucilage. 
 
 ich 
 ith 
 
 11-C8 
 
 the 
 ial, 
 itod 
 lien, 
 all 
 l\ as 
 
 sen. 
 iiid 
 nee 
 ear 
 
 General Eemarks on the Sf.ate-I)rawin(j ok the First and 
 Second Years in Prlmary Schools. 
 
 The practice of drawing in the lower claases of the primary 
 Hchools is to awaken thoughl, and give ideas of form ; to learn the 
 names by which lines and forms are described and called in 
 teaching drawing ; to acquire a little knowledge of the aljihabot 
 and vocabulary of the language of form ; and it cannot be too 
 strongly impressed upon the teacher, that manual skill oi* exact 
 knowledge is not here to be expected from the avci-age pupil. 
 It is not well to urge the pupils too much in the direction of 
 making very good lines or very pei'fect shaj)es by the free hand 
 alone. They should, however, be taught how to make a good 
 straight line with the ruler in the dictation or memory exercises; 
 and it will be found that this education of both eye and hand will 
 materially help the freehand practice. The sort of line to be 
 looked for is an even one, whether thin or thick is of no conse- 
 quence ; and the test of a drawing should be its attempt to display 
 the truth of a definition or form, rather than the retinement or 
 elegance of its presentation, Avhich is of secondary importance 
 at this stage. To teach drawing at this stage is to give inform- 
 ation. 
 
 Geometric definitions should be learnt by drawing them, and 
 not by memorizing the words in which they arc described. The 
 correct idea of a line or a form (as, for instance, an oblique line or 
 a square) shouhi come first by teach '"ng what it is not, as well as 
 what it is, appealing through the eye to the understanding, as in 
 object teaching ; next, the drawing of the form ; and lastl}-, fur- 
 ther on, the words which define it. The theory of a definition in 
 words is, that it should reflect an image which exists in the 
 child's mind, and not be a substitute for that image uttered by 
 the tongue. The test of knowledge is the drawing. 
 
 In the design or inventive exercises a definite amount of 
 recreation and full scope should be given; encouragement and 
 help be generously distributed, but blame never. Even correction 
 of the productions should be the exception, not the rule, remem- 
 
64 
 
 NOTES FOR TEACHCrv... 
 
 boring thai llio work is only forlho /jjorjllc oxorciHtioftho arran^- 
 iii^ or originating I'acuUy, and not tor Uh Hovoro training, wl.ich 
 will ('onu^ riii'thor on. 
 
 Tlu' j)()sili(»n of the |>nj)'.ls when diawin;^, and Iho lioMin/:; of 
 tho pencils, should he atlcFicUMl (o, lh(nii;h no one |)osilion is infal- 
 lihlc or HuKahIc (o all ; and they shoidd ho allowo<l and encouraged 
 to turn the slate around so as to tind the easiest position in which 
 to draw ovciy part of the exercise. Pencils shonid never be 
 nhorter than the length of palm and fingers of the pupil's hand, 
 and he kept pointed, so that the eye may follow the point in its 
 work, ^rhe head should he kept a foot away from the slate, that 
 the hand may have freed(Mn, and the eye take in all tho woi-k at 
 
 The central vertical line of the examjdes, if the form be sym- 
 metrical, should always be the tirst line drawn, and, as a rule, 
 the longest and most important of the constructional lines next, 
 and then the lines of the form. All drawings to he at leatU- four 
 or six inches in lu^ight or width, oi* as large as the slate will 
 conveniently allow. It is to be imderstood that the average age 
 and aveiage intelligence of classes will vary as much as the indi- 
 viduals in each class vary, according to their surroundings or 
 circumstances. The progj-amme is therefore to be ada))ted by 
 teachers to suit the varying condition of classes as well as indi- 
 viduals, and its object be aimed at, even if not attained. It must 
 never be foi-gotten that the reason for teaching drawing to child- 
 ren so young is to give them inlormation by appealing to the 
 senses, which are as well developed in the young as in the old ; 
 and not to secure the skill or accuriicy which come of developed 
 powers of perception or reason. To be in a healthy condition, 
 the drawing in [)rimary classes should be on the same plane as 
 the reading or writing, as to performance ; and in sense ot pro- 
 portion, it should be on a level with the counting and tirst exer- 
 cises in arithmetic. The lettei's of the alj>habet and the numerals 
 must bo leai-ned by name, and distinguished by making their 
 forms, somewhere \ and so also must reading and writing; and the 
 place usually assigned to this is the primary school. This is true 
 also about the elements or alphabet of drawing, — the straight line 
 and curve, and names given to them separately and combined. In 
 no subject is the pupil to be distressed, but encouraged, helped, 
 and comforted, and the desire created to know more and do more 
 for the enjoyment of the thing, just as, when being told a good 
 
BY PROF. WALTER SMITH. 
 
 65 
 
 [ition, 
 
 pro- 
 le xer- 
 erals 
 llheir 
 the 
 true 
 line 
 In 
 Ipod, 
 loro 
 cood 
 
 Htory, childieii ai'o more eager to have it go on, that they may 
 know how it endn, than have it broken off in the middle, or he 
 interrupted at the moHt interesting time. 
 
 TIN HI) YEAR, 
 
 Two houiK per week. Four lessons <>f half an hour cAch. Pupils draw on 
 paper and lilackboard ; teachers on blackboard. 
 
 Subjects of Lessons. — I. Freehand from copies of striiig'it-line forms dur- 
 ing first half-year, and of lurved forms in secoml half-year. 2. Drawing from 
 dictation. :5, Drawing from memory. 1. Design, or inventive drawing. 
 
 1. FREEHANr>, — Pupils commence to (h-aw on paper, and U'arn 
 the use of'the lead-pen<'il and ruhher. fJ.'view the work done in 
 the first year on slates, — the definitions and straight;-line<l f'oiins 
 first, and tho curved exercises of the second year's slate-work 
 next. Avoid giving new exercises not drawn before; the prop»>r 
 use of paper, pencil, and rubber being enough to teach at first. 
 The pencil is to be held softly in sketching, and the line ma<le at 
 first to be a very faint one. In finishing or lining in the exercises, 
 tho pencil is to be held more u})right and more firmly, and a dis- 
 tinct line be i lade. The rubber to be used sparingly. Strive 
 after uniformitv of line as to depth of tojie and thickness, not too 
 thick. In this Itranch there must be no I'uling of lines, — all to 
 be drawn by freehand; but all work is to be tested before being 
 finished, Jiefer to subjects and directions for first and second 
 year's woj'k. Add to these the bud and flower of the Egyptian 
 lotus form, 
 
 2. Drawing from Dictation. — Straight-line exercises first, 
 and afterwards those in which simple curves occur in combination 
 with straight lines sketched from oral description alone; then 
 drawn on the board by the teacher, the pupils to correct their 
 work, if necessary, from the teacher's interpretation, before finish- 
 ing. When the subject is simple, let one of the pu[)ils draw it 
 on the board, and the others criticise his work as it progi'esses. 
 Kxplain the measures of the base and altitude of a simple curve 
 by examples, and show the ettect of varying one feature and not 
 the other. 
 
 3. Drawing from Memory. — The subject to bo stated by the 
 teacher in some cases for the whole class to take ; in others, each 
 pupil to be left to draw what b^ can best remember of an exei-cise 
 previously drawn . Follow general directions given tor first and 
 
 E 
 
66 
 
 NOTES FOR TEACHERS. 
 
 second year, as to subject and method, repetition on paper being 
 the only new work. 
 
 4. r)EHiGN, OR Inventive Drawing Subjects to be given by 
 
 toacluu-H, such as leaves or front views of flowers, to be used to 
 fill simple geometric forms; as the equilateral triangle, square, 
 circle, or oblong: the unit of repetition to be repeated around a 
 centre, or on a horizontal or vertical line or axis. Expect only 
 childish work, and be satisfied with it. 
 
 General Remarks. 
 
 The chief work to be done during this year is to fix or refresh 
 in the mind and memory by a <leliberate review — and using new 
 materials, lcad-p(!n(il and [)aper — that which has been learnt 
 before in the previous classes, much of which will have been for- 
 gotten ; also to commence the practice of drawing upon paper, 
 which is in many ways diffei-ent from slate-drawing, ajid needs 
 more attention to individuals in thn class. About methods of 
 sketching with the lead-pencil, it may be sai<l that there is this 
 ditference between learning to draw and learning to write : in 
 writing, the pupil is taught to make the best copy of a given letter, 
 and to leave it when made without alteration, proceeding to write 
 others in greater or lesser numbei-s Avith fresh observation, until 
 the im])rovement conies. In drawing, this is not the process: for 
 the pupil who makes a bad line or form is not allowed to leave it, 
 and go on to nuike others of a similar kind, but should be shown 
 how to con-ect the wrong line, and thus improve it ; so that, when 
 hej^roceeds to make anothei", it shall be thmi the starting-point of 
 his corrected woi'k. If teachei's will realize this difi'erence, they 
 will see that the first sketch of a drawing should be made in faint 
 lines, as being easier to correct if wrong, and they will also see 
 that to forbid the use of rubber foj' correction is not wise educa- 
 tionally, and, as a rule, is cruel personally to msmy. Pencils 
 such as II 11 11 or H H, are too hard for children, H or F 
 being usually quite hard enough. Soft ])encils in use ci-eate a 
 delicate touch. The book may be turned about, and put in the 
 most convenient position in which to draw any part of the 
 exercise. 
 
 The examples in books are not intended to dispense with the 
 use of the blackboard for illustration by the teacher, to explain 
 pririciples and show errors of workmanship, but to ins- "e that all 
 
BY PROP. WALTER SMITH. 
 
 67 
 
 per being 
 
 given by 
 >e UHcd to 
 e, square, 
 around a 
 pect only 
 
 or refrefih 
 ining new 
 en leai'iii 
 been f'or- 
 lon paper, 
 ind needs 
 ethods of 
 ere is this 
 write : in 
 ,en letter, 
 l;; to write 
 tioM, until 
 )ceH8 : for 
 3 leave it, 
 be shown 
 lat, when 
 •pi)intof 
 nee, they 
 e in faint 
 also see 
 se eduea- 
 Peneils 
 H or F 
 ci'eato a 
 >ut in the 
 t, of the 
 
 with the 
 ) explain 
 that all 
 
 pupils shall have accurate copies to work from, and see them 
 equally well at the right distance from the eye. This is impossible 
 when the blackboard is alone used ; for only a few pupils can see 
 the examples on it truly, and few teachers with large classes can 
 have time to make such accurate drawings on the boai"d as would 
 serve for copies, wiihout neglecting the individual correction 
 which the pupils should also receive. Very rough impromptu 
 sketches on the board will illustrate principles ; and this was the 
 use that Agassiz made of them, not to illustrate drawing, but the 
 subject drawn. No one who ciiii make a drawing worth looking 
 at will ever waste his life by making it on a blackboard ; and no 
 one but caricaturists and teachers make use of the board rightly, 
 — the one for amusement, the other for I'ough diagrams explain- 
 ing principles. 
 
 FOURTH YEAR. 
 
 One hour and a half per week. Two lessons, three-quarters of an hour 
 each. Puplis draw on paper and bhickboard ; tjachers, on blackboard. 
 
 Subjects of Lessons. — 1. Freehand from copif;s. 2. Drawing from dicta- 
 tion. 3. Drawing from memory. 1. Design, ov inventive drawing. 
 
 1. Prkehani). — Drawing on paper continued. Abstract curves 
 on large scale. The S|)iral. Pol^'gojiw of uneven number of sides ; 
 as five, seven. The progressive order in making di-awing studied: 
 viz., (1) const ruct io]i-lines ; (2) sketch of form; (3) erasure of 
 construction-lines, and tinishing the drawing. Simple details of 
 historic ornament ; as (ireek mouldings, t^c. Spacing out of work. 
 Proportion arising from subdivision of the axis or main line. 
 ['' The whole and each particular member should be a multiple 
 of some simple unit." — Oircn Jones.] Repetition of parts as shown 
 in mouldings and rosettes. Geometric basis of irregular forms, and 
 geometric construction of objects ; such as ases, pitchej's, &c. 
 Illustrations of vertical, horizontal, and cei;tral repetition in 
 moiddings and rosettes. Explain what is meant by di'awiugs 
 showing two dimensicms, U'ngth and bi-eadth only, by sketches of 
 solids, showing the three dimensions, ad<ling thickness to length 
 and breadth. 
 
 2. Dictation. — Base and altitude of simple curves further ex- 
 plained, and short exercises given to illustrate the names used. 
 Influence of compound curves in profiles or outlines of objects. 
 Description of compound curves by refei-ence to proportion of 
 bases and altitudes. Ke versing of direction of curves, as related 
 
68 
 
 NOTES rOR TEACHERS. 
 
 to a straight line. Association of curves with straight lines to 
 pj'odiice regular geometric Hgures accurately described l)y teacher, 
 and drawn trom oral direction by pupils, 
 
 H. A[e.mory. — Building up of the power to i-eineiuber by adding 
 simple irregular forms to regular geometric figure; as rosettes in 
 square or circle. Memory drawings of the pupil's own designs. 
 Occasional revicAvs of groups of geometi'ic delinitions; as all the 
 triangles, all the (piadi'ilatei'als, polygons, the circle and its pai'ts, 
 the oval, ellipse, and spii'al. Vary the exei'cises some times; at 
 others, I'cpeat the same. 
 
 4. Deskjn. — Influence of geometric centres in rosettes, the 
 regular line contrasting with the irregular curve. Simplicity 
 of unit for design required. Avoid snuill parts in unit. If 
 leaves ar(^ used for subject, choose such as are adapted by their 
 shapes to fill the gecmietric forms to be filled, without leaving 
 much uncovered ground. Use traciiig-|»aper to repeat tlie unit 
 of design. The enclosing gecmicfric forms to be accurately 
 ruled and measured, and subdivisions of the space made in the 
 same way. Teach the best way of holding the rule and pencil 
 when ruling from one point to another, or through two given 
 points. 
 
 FIFTH YEAR. 
 
 One hour and a half per week. Two lossons, three-(iuarters of an hour 
 each. Pupils draw on paper and blackboard ; teachers, on blackboard. 
 
 Subjects of Lessons. — 1. Freehand from copus. 2. Drawing from tlictation, 
 and design, or inventive drawing. 3. Memory drawing. 4. Models and objects 
 from copies and objects, 
 
 1. Freehand. — Combination of straight and cuived lines in 
 ornament. Influenceof number on rosettes, — three, tour, five, six, 
 eight. Interlaced forms, — circle and triangle. The higher cuj-ves 
 applied, — the ovoid in objects, the spiral in scroll-oj-nament. The 
 conventionalization of natui'al forms for design. Leaves from 
 copies drawn from nature, and then conventionalized. Simple and 
 compound leaves. Jlalf-tinting by ])ai'allcl lines to distinguish 
 form from background. Balance of unequal parts — as two sides 
 of a natural leat^ — or spii'al curve not symmetrical. Details of 
 historic ornament, Eoman mouldings ; as the echinus, guilloche, 
 &c. Demonstrate the distinction between symmetiy and balance. 
 
BY PROF, WALTER SMITH. 
 
 fi9 
 
 tation, 
 objects 
 
 no8 in 
 vo, nix, 
 eiirvcH 
 The 
 troin 
 o and 
 igiiisli 
 • sides 
 uIh of 
 loche, 
 lanee. 
 
 2. Dictation and Design, — The enclosing geometric lines 
 which form the spaces to l)e filled, to be dictated, of a given size, 
 measured by scale. Units of design to be conventional leaves, 
 drawn before as freehand exercises. Use of half-tint in design : 
 (1) on the background ; (2) on the ornament. Enclosing-forms 
 to be combinations (»f straight lines and curves, or double squares 
 and triangles ; the ornament to occupy two-thirdsor throe-fourths 
 of the surface, and the background to be the remainder. 
 
 3. Memory. — The natural leaf, and its conventional treatment 
 to impress mean • g of conventionalizing, to be drawn from 
 memory side by side. One object and one original design (drawn 
 in previous years) to be i-eproduced. Othei* selected subjects. 
 
 4. Models and Orjects from Copies. — Drawing which shows 
 the three dimensions of length, breadth, and thickness explained. 
 Model-drawing, freehand jterspective. Ellipses iilid their charac- 
 ter, depending on pro])orti(m of the two axes. The circle in its 
 three appearances: (1) circle when seen perpendicular to its 
 plane; (2) straight line when seen in line ofitsplam;; (3) el- 
 lipse when seen oblicjue to its ])lane, (Jeoniiiti-ic solids illustrat- 
 ing the circle and ellijtse, s[)here, cone, and cylinder. Regular 
 geometric solids the bases of common objects. .Symmetry of all 
 objects made on a ])otter's wheel, or turned in a lathe, in what- 
 ever position seen, the axis of the object being the central line of 
 symmetry. Tangency of straight lines to curves, as in elements 
 of cone and cylinder to bases, Leai-n names and definitions of 
 simple geometric solids; as (-one, (ylinder, sphere, cube, prism, 
 pyramid, <ltc, Di'aw from natui*e an orange, lemon, egg, potato, 
 apple. 
 
 SIXTH YEAH. 
 
 One hour and a half per week. Two Icksoils, thrce-rniarters of an hour each. 
 Pupils draw on paper and blackboard ; tearliers draw ou blackboard. 
 
 Subjects oj Li'ssons. — I. Freehand troni copies. 2. Dictation, memory, and 
 design. 3. Model and object drawing Ironi co|)ieH and solids. 4. Plane- 
 geometrical drawing with compasses 
 
 1. Freehani*. — L(!ssons to include tracing and transferring of 
 units and their repetiti(m, as in design. Proper and economic 
 use of tracing-paper. Drawing on large scale of historic orna- 
 ment details. Natural Howei-s di'awn from copies, and both 
 leaves and flowers conventionalized foi* oi'nainent. Flower-fcu'ms 
 
n 
 
 NOTES FOR TEACHERS. 
 
 for rosettes. The scroll further illustrated by ornamental treat- 
 ment of spiral line. Natural leaves to be drawn from copies, — 
 the simplest forms of plant, shrub, or tree leaves. Details of 
 historic ornament, Byzantine and Moorish. Practice in perfect 
 erasure of construction-lint3S, and in evcm quality of finishing- 
 lines. 
 
 2. Dictation, Memory, and Dehiqn. — Designing exercises to 
 include instruction in the three features ; viz., memory and dic- 
 tation, as well as arranging or designing. Pupils to draw 
 the unit of flower or leaf from memorj^, the enclosing-form from 
 dictation. Arrange part of unit in section of space to be filled, 
 and apply practice in tracing and ti-ansferring to reproducing the 
 unit and filling the space with accuracy. Half-tint to be em- 
 ployed. One or more solids to be drawn from dictation, and one 
 from memory. 'She preliminary part of the memory and dicta- 
 tion exercises to be the defining of the solids about to be drawn, 
 and proving the definition by impromptu sketches by pupils. 
 
 3. Model and Object Drawing. — Further practice in cone 
 and cylinder, with axis oblique. Objects based on them, in up- 
 right positions, with axis vertical ; and lying on their sides, axis 
 oblique. Comparison of the geometric views and perspective 
 views of the same objects. Explanation of the terms '' plan " 
 and " elevation " applied to common objects. Changes in appear- 
 ance which objects undergo by change in position, the eye being 
 fixed; or the object fixed, and the eye changed in position. Draw 
 a vase, cup, pail, bowl, lying on their sides; some looking into 
 the objects, others with the top turned away from the eye and 
 Invisible, the bases showing. Show how a model-drawing displays 
 three dimensions, — length, breadth, and thickness. 
 
 4. Geometrical Drawing. — Use of ruler and scale in exact 
 measurements. Use of compasses, and right method of holding 
 by the hand when working. Definitions of lines, angles, figures, 
 drawn. Constructive problems. Division of lines. Construction 
 of simple forms ; as triangles, squares, rectangles. Hse of com- 
 passes and ruler to produce forms for design. Kxplain the func- 
 tion of instruments used in drawing to produce accuracy and save 
 time. Compare work done with them to that made by freehand. 
 Show what the ruler and compasses can do, and what they cannot 
 do, in drawing ; how much must depend upon the eye and hand 
 
 
BY PROF. WALTER SMITH. 
 
 71 
 
 lexact 
 [iding- 
 ;ureH, 
 letioii 
 
 com- 
 If'unc- 
 
 Have 
 
 uind. 
 
 mnot 
 lb and 
 
 which instruments cannot accomplish ; and how much the eye 
 and hand can be assisted by the mechanical accuracy of which 
 they are incapable. Thus distinguish between the proper and 
 improper use of mechanical assistance in drawing; and, by rec- 
 ognizing the value of both, to avoid attempting that which is 
 impossible in either alone. Illustrate, by reference to the use 
 of drawing in practical industry, where the good workman uses 
 instruments of precision in order to make his work sound and 
 trustworthy; and where the draughtsman, designer, or artist 
 must depend wholly on his freedom of hand, skill in expressing 
 beautiful forms, and his originality in design, — depending on 
 power which cannot be assisted bj instruments. Give correct 
 general ideas on these points, and thus teach the use and avoid 
 the abuse of mechanical help. Drawing taught in the public 
 schools is to be practical, so as to be useful to all, — a help in the 
 workshop, office, studio, designing-room, — and must therefore 
 include all the branches that are employed in profitable industry, 
 and are of educational value. As used in practical life, it must 
 be so taught in the schools. Practical instruction in sharpening 
 pencils for instrumental drawing ; cutting to a chisel-point. 
 Holding the pencil nearly vertical, — not so oblique as in free- 
 hand drawing. The value of a sharp point on the pencil in the 
 intersection of arcs. Ruling lines through intersections. l)is« 
 tinction in thickness between working-lines and the result-lines 
 of the figure. Bearing on the centre of an arc whilst striking 
 the curve and freedom of the pencil-leg of the compasses. JJe- 
 vereing the position of problems, to show that the process of 
 solution is independent of position. Exercises to illustrate the 
 practical use of the elementar}^ constructional problems. Point 
 out generally the influence of geometrical forms in practical art, 
 — in architecture, in designing, in surveying land, in building 
 bridges, and in constructing machinery. Explain the comfort, 
 safety, and protection which ti-ue knowledge of science gives 
 us, and how much of this depends on the ac([uisitionot this knowl- 
 edge and the skill it results in, by drawing, and fi'om scientitic 
 drawing of which geometry is the basis, most of all. Make 
 geometrical drawing interesting by treating it as the symbol 
 and vehicle of ideas appertaining to its practice and value, and 
 thus create a love of, and desire for, accuracy in wo5'k. 
 
72 
 
 NOTES FOR TEACHERS. 
 SEVENTH YEAR. 
 
 One hour and a half por wees. Two lessons, three-quarters of an hour 
 each. Pupils draw on paper and blackboard ; teachers on blackboard. 
 
 Subjects of Lessons. — 1. Freehand from copies. 2. Drawing from dictation, 
 memory, and design, or inventive drawing. 3. Models and objects from copy 
 and solid. 4. Plane-geometrical drawing with compasses. 
 
 1. Freehand. — Practice drawing of large details. Ornament 
 composed of non-Hymmotricai forms. Balance of unequal parts. 
 Kefinoment of curvature, and tangency of long with short curves. 
 Uniform thickness of hne. Details of historic ornament, 
 Moorish and Gothic. Compare feature of an iesthetic and sym- 
 bolic style. Require the sketching of forms to be made on 
 construction lines enlarged or reduced from the copy without 
 detailed instructions by teacher. Dev'elop the habit of working 
 from observation of the example without continuous direction 
 from teacher. Encourage self-reliance, and make pupils some- 
 times call on themselves when in difficulties. 
 
 2. Dictation, Memory and Design. — Dictate the cnclosins: 
 geometrical forms for design to be drawn with .'uler ai\d com- 
 passes, and their subdivision into equal parts or units of nurface. 
 Jiecjuire pupils to bring natural leaves to school at suitable 
 seasons to conventionaUze them for design. Show the value of 
 contrast between geometric and non-geometric lines in design, — 
 the former in the centres and enclosing-lines of roHcttes ; the latter 
 in the drawing of the unit, or in single leaves. Use leaves of 
 more than one size, and front and side views of flowers. Dictate 
 one geometric solid, and give one as a subject for memory draw- 
 ing, each to be the first defined by the class, either in words oi* 
 by sketch, oi* in both wtiys. 
 
 8. Model and Oh.iects. — Commence drawing of i-ectangular 
 solids and objects, — cube, parollelopipedon, boxes, steps, &c. 
 Convergence of retreating paralie! lines, — three views of a cube, 
 showing parallel, angulai*, and oblique perspective as applied to 
 model-drawing. Solids above and below the level of the eye, — 
 rectangular pyramid and prism. Method of lindin/^ perspective 
 centres of I'CguUir geometric forms. Subjects,— square and 
 triangular frames, hexagonal p^'ramid and prism, triangular 
 prism, book, rectangular plinth, hexagonal plinth. 
 
BY PROF. WALTRR SMITH. 
 
 73 
 
 com- 
 
 I'face. 
 
 table 
 
 no of 
 
 attor 
 OH of 
 tate 
 raw- 
 
 Ih or 
 
 ulai' 
 
 &c. 
 
 iibo, 
 
 d to 
 
 3tive 
 and 
 iilar 
 
 4. Geometrical Drawing. — Constructive problems in angles. 
 Bisection of angles. Trisection of right angles. Exercises on 
 problems to fill spaces, such as the equilateral triangle and 
 square by circles and arcs of circles. Inscribing figures within, 
 and describing them about, similar figures. Special problems 
 concerning polygons, their construction and subdivision. Circles 
 through given points, or touching given lines. Complex figures 
 composed of curves and straight lines in combination. Increased 
 accuracy of work. For general poijits of class-instruction, refer 
 toaiid repeat thai given under suggestions for the third year. 
 
 EIGHTH YEAR. 
 
 One hour find a half per week. Two lessons, three-quarters of an hour 
 each. Pupils draw on paper and blackboard ; teachers on blackboard. 
 
 Subjects oj Lessons. — 1. Freehand from copies. 2. Dictation, memory, and 
 design, or inventive drawing. 3. Models and objects from copy and solid. 4. 
 Plane-Geometrical drawing with compasses. 
 
 1. Freehand. — Illustration of scroll in historic ornament. 
 Details of Gothic, and type-forms of Greek. Compare the sym- 
 bolic and {esthetic in ornament by examples in the two syles. 
 Seek, by questioning pupils about previous exercises in these 
 styles, to keep alive the memory of, and interest in, the subject, 
 liefer to and explain the names of the styles, and any cij'cum- 
 stances in the history or art of the people who practised them. 
 The exercises in drawing to express refinement of curvature and 
 feeling. The practice to economize time by drawing rapidly 
 with increasing accuracy. 
 
 2. DICTAT[o^f, Memory, and Design. — Dictate a geonietricjil 
 problem. Memory drawing of a S(>lid previously' drawn. 
 Memory drawing of a design made by the j)Ui)il when in a lower 
 class. Dictate one solid of given dimensions in a described 
 position ; as a cylinder on its side, or a group of two objects, 
 such as a square plinth with cone upon it, \\\ design draw the 
 natural form of a leaf and flower and fruit, and its conventional 
 treatment. Use these as subjects, and strive, ai'ler accnrate re- 
 production by tracing and transferring, to fill the space orna- 
 mented. Show the effect of double enclosing-linos, parallel to 
 each other, one dai'ker than the other, to enclose the design. 
 
 3. Models and Ob.jects. — Alternate practice in cylindrical 
 forms, and objects based upon them, and in rectangular solids, and 
 
14 
 
 NOTES FOR TEACHERS. 
 
 forms like thom. Vase, with axis oblique. Chair and table in 
 singular perspective. Book open, below the eye. Pile of books, 
 with angle nenrest the eye. Indicate shade and shadow by half- 
 tint; linos not to be crossed. Exercises from solid to include 
 geometric solids above and below the eye. Subjects, — cross, 
 hexagonal frame, and such other forms as may be available. 
 Draw one object, part of which shall be above, part on a level 
 with, and part below, the eye, to illustrate the direction of hori- 
 zontal lines in each position. 
 
 4. Geometrical Drawino. — Construction of polygons on gi ven 
 bases, and in given circlcH. Inscribing figures within figures, 
 and about them. Geometric design to fill .spacer. Exercises 
 in problems. Geometric forms in ornament; as in sculptured 
 tracery, wall-diapers, the ornamentation of constructive forms. 
 The geometric forms which scientific construction takes; as in 
 roofs, bridges, &c. Construction of the ellipse, the ovoid, and the 
 spiral, and the higher curves generally, and their uses. 
 
 NINTH YEAR. 
 
 One hour and a half per week. Two lessons of three-quarters of an hour 
 eacli. Pupils draw on paper and blackboard ; teachers on blackboard. 
 
 Subjects of Lessons. — 1. Freehand analysis of oruament and plant-form. 2. 
 Applied design for flat surfaces. 3. Model and object drawing from solids. 4. 
 Perspective, parallel and angular. 
 
 1. Freehand Analysts. — Review and compare historical 
 ornament previously drawn : (1) of the three ancient styles, — 
 Egyptian, Greek, and Roman, — three or four examples on one 
 page ; (2) of the three mediteval styles, — Byzantine, Gothic, and 
 Moorish, — three drawings, one example of each style, on one 
 page. In plant-form, make a botanical analj^sis of a growing 
 plant in flower from nature, showing natural leaf and natural 
 bud and flower, and their conventional treatment, for the purpose 
 of design. Follow method of arrangement of leaves on stem, 
 alternate or opposite, as in nature. Use either pencil or pen 
 and ink for these studies, indicating by tinting with lines the 
 relief or roundness of the forms. The plants usually found in 
 class-rooms should be taken as subjects, or a few growing plants 
 in pots be borrowed for this exercise, when none are kept in the 
 school. A part — such as one stem or branch, enough to show the 
 character of the plant and its growth — is sufficient for one exercise. 
 
es, — 
 one 
 and 
 one 
 
 rpose 
 
 stem, 
 
 pen 
 
 the 
 
 d in 
 
 lantH 
 
 the 
 
 V the 
 
 •cise. 
 
 BY PROP. WALTER SMITH. 
 
 75 
 
 2. Applied Design. — Apply the previous practice in design 
 and the arrangement of form to the decoration of ao' 'o uHefiil 
 object, choosing those mibjects whicli are ornamented uy forms 
 without relief or roundness ; as wall-papers, book-covers, encaus- 
 tic tiles, &c. Use as materials for design the plant-form analyzed 
 in the freehand section. If olyects be selected to decorate, — 
 such as vases or pottery forms, — the mouldings or borders of the 
 ancient styles may be employed in horizontal bands, as in 
 Etruscan vases. Tile-patterns, or designs for lace or cotton 
 prints, may he selected as subjects, each pupil to select for him- 
 self. Distinction between ornament and back-ground to be made 
 by half-tint of different degrees of depth, according to subject. 
 Designs made to be the full size of object for which they are in- 
 tended, or a single repeat of the design, if a wall-paper, cotton 
 print, or such subjects be chosen. Two good designs in each 
 half-year may be expected from each pupil ; but one from each 
 in that time should be required. 
 
 3. Models and Objects. — Studies in this branch to be entirely 
 from the solid. Groups of two, three, or more models, — such as 
 a plinth (rectangular, hexagonal, or circular), a vase, or pitcher, 
 and a frame or ring (square, triangular, pentagonal, or hexagonal 
 frames, or circular ring) ; or groups consisting of a cube or oblong 
 block, a prism (triangular, rectangular, or hexagonal), and a 
 cylindrical form, as cylinder or cone, or object based on those 
 forms. Half-tinting ma}' be en\ployed to give the effect of 
 solidity or roundness. Avoid attempts at elaborate shading. 
 Foliage from nature, or fruits, or the objects in the class-room, 
 maybe taken as subjects, if every pupil ran see them plainly, 
 and at a sufficient distance from the eye. Make those parts 
 nearest the eye more distinct than those not so near, to give 
 effect of roundness and distance. The double m'oss and skeleton 
 cube for single geometric forms. With the models, draw any 
 common object that will group with them and give interest and 
 variety, or give any beantiful object that may be available or 
 procurable by the teacher. 
 
 4. Perspective, Parallel and Anoular. — (a) Parallel- — The 
 phenomena of perspective, explained by reference to pronounced 
 perspective effects as seen by the eye ; as a row of houses, lamps, 
 view down a street, &c. Method of representing these effects on 
 a vertical plane, called a picture-plane or plane of delineation, 
 
76 
 
 NOTES FOR TBAOHERS. 
 
 by scientific process. Explain ground-plane and picture-plane ; the 
 lines employed, horizontal line, line of direction, picture-line ; the 
 points, — as point of sight or centre of vision, vanishing-point, 
 distant-point, station-point, measuring-point. Ex])lain dirterence 
 between a geometric drawing and a perspective view by sketches 
 
 (1) of a rectangular form, as a flight of steps; (2) of a circular 
 object, as a cup and saucer, or by a cube and cylinder. Explain 
 scales as used in perspective; such as the half-inch, third of an 
 inch, quarter or eighth of an inch scales 'to the foot of actual 
 length. I^jxplain method of finding stati(m-point and distance- 
 point, and use of latter as a measuring-point in parallel perspec- 
 tive; method of measuring the perspective height of objects on 
 vertical lines. Compare this process with what is really seen 
 by the eye in the apparent regular decrease in height of a row 
 of lamps retreating from the eye of the spectator. Subjects for 
 diagrams,— the square, cube, oblong block (paralleloj)ipedon), 
 rectangular pyramid, plinth, floor of square tiles, inside of a 
 room, hexagonal prism and pyramid, triangular pi'ism ; circular 
 plane, — (1) horizontal, (2) vertical; cylinder, — (1) axis at right 
 angles to picture-plane, (2) axis parallel with picture-plane. 
 Axioms to be demonstrated : (1) parallel lines retreating from 
 the eye a])pear to converge to a point, called the vanishing-point; 
 
 (2) lines parallel with the picture-plane have no vanishing- 
 points ; (3) a circle seen oblique to its plane appears as an elli])se. 
 Use of one vanishing-point. 
 
 (b) Amjular. — The use of two vanishing-points. Method of 
 finding the vanishing-points of horizontal lines at any angle with 
 the picture-plane. Method of finding the measuring-point of 
 any line vanishing to a point. Enunciate the rules ; explain 
 them by diagrams ; apply them in perspective probleni.s. Repeat 
 and explain these at every exercise. Explain mode of measuring 
 perspective heights on every solid, and on single vertical lines 
 standing n])on the ground. Draw a line lying on the ground 
 in the perspective, and making an angle with the picture-plane ; 
 And its vanishing-point and its measuring-point, the angle it 
 makes with the picture, and measure its length. Repeat this on 
 lines at difierent angles. Subjects for diagrams, — the same as 
 those used in parallel perspective, with variations to illustrate 
 the principles taught, and the use of two vanishing-points. 
 Apply the method employed in obtaining perspective views of 
 regulai' geometric solids to objects, such as tables or chairs of 
 
BY PROF. WALTER SMITH. 
 
 11 
 
 iing- 
 
 of 
 with 
 
 of 
 
 jlain 
 
 3eat 
 
 •iiig 
 
 inea 
 
 >iind 
 
 me ; 
 
 e it 
 
 son 
 
 e as 
 
 ate 
 
 nts. 
 
 of 
 
 of 
 
 simple form, boxes or books, drawing thoin from moasiiroment 
 to the scale of the diagram. Sketch by freehand on blackboard 
 all objectH to be drawn in perspective, and rc<juire the ])iipils to 
 sketch them on slate oi* ))apor, also by freehand, Itetbre putting 
 the solid or object into perspective. Create a clear and accurate 
 idea of the work to be done, before attempting to do it by i-ule. 
 Explain the character of lines to be used in working perspec- 
 tive problems, and ditlerc ce between working-lines and result 
 lines, and between visible and invisible result-linos. Use of 
 elevated picture-line; line of heights. Half-tint ol parallel linos 
 to be used on one side of solids. The solid models to be always 
 placed before the class when being di-awn in perspective, and 
 visible and invisible edges of the Nolid to be thereby illustiuted, 
 and the drawing be made to express what the eye set^s, as well Jis 
 what is not seen. The names of points and lines — as vanishing- 
 points and measuring-points, horizontal and pictnie-lines — to be 
 neatly lettered as obtained. The distinction between the use of 
 vanishing-points and measuring-points to be made clear by re- 
 petition of their use on simple problems as exercises. Occasional 
 drawings to be made from memory to emphasize the distinction. 
 The meaning of woi'king to scale to be frequently explained. 
 Compare geometrical drawing and perspective with grammar in 
 teaching language, — a grammar of the universal and unchanging 
 language of form, — one which is without locality, nationality, or 
 mutability, (leneral and correct ideas must be formed before 
 they can be expressed in lines. Skill in drawing is a conse([uence 
 of right thinking in the person who makes it, and may bo its 
 cause in those who see it ; and, if the cause is controlled, the result 
 must follow. In the whole world of creative or depictive art 
 there is no such phenomenon as accident. 
 
 General Eemarks. 
 
 In the notes and directions under each subject, atid in succes- 
 sive years of this course of study, fulness has been attempted 
 where the subjects have been tirst introduced, or detailed in- 
 formation required. Thus, in the primary and high school de- 
 partments, the suggestions are at greater length than in any of 
 the grammar-school class-work, except perhaps in that of the last 
 year, where new branches of practice are pursued requiring full 
 description. It is intended that those teachers who have to work 
 
«■ 
 
 78 
 
 NOTES FOR TEACHERS. 
 
 upon ih'iH plan should have tho opportunity of faniiliarizin/j; thorn- 
 solves with its <iovolopnient by sooing it in a complete form in all 
 itK gradoK from beginning to end in this report. This renders it 
 unneceHsary to i-opoat in every stage and for every class that 
 which has already been formulated for previous classes, and which 
 the teacher may consult for his own; tor, however unavoidable it 
 may be to <lispens(^ with all repetition, — as, for instance, in des- 
 cribing reviews, <fec., — it has been felt that every increase of re- 
 petition means decrease of interest. 
 
 In the lower classes generally the subject of drawing has 
 been admiralily taught wherever the teachers have been taught; 
 and in all tho branches, except perhaps that ot drawing from 
 the solid object, most of the dit!iculties that are felt arise from 
 teachers having too high a standard for manual execution by 
 the pupils. Being new to the subject, they are too impatient of 
 executive deficiencies, and do not give credit enough to the im- 
 provement or actiuil attainments of scholars, nor for that which 
 the sti-uggling effort may have removed from, or left in the 
 cliild's mind, — for the new ideas which have been formed, and 
 tho extended range which has been developed, and imperfect or 
 defective obsei'vation corrected. On the two subject of teach- 
 ing elementary design, and the proper use of mechanical aids, 
 testing and measuring in freehand drawing so much diflt'erence 
 of opinion is found, and so much direction needed, that both are 
 here refei'i'od to. The (juestion is often asked, How shoidd w^o 
 give lessons in design ? 
 
 The design lesson should be given as follows : The teacher 
 should give to each pupil a slip of paper on which to make 
 sketches of the subject, and commence by dictating a geometric 
 form, in which the design is to be enclosed. Then the subject for 
 the design, consisting of leaves, or leaves and flowers, should be 
 drawn on a large scale on the blackboard, and fully ex})lainc(l by 
 the teacher, the pupils copying the forms on their papers. They 
 should bo allowed to take these memoranda home with them, and 
 asked to make a design during the coming week, and bring it with 
 them on the day for the designing lesson. The teacher should 
 examine these returns carefully, and allow the pupils who have 
 produced good ones to draw them in their books. And those 
 which are either bad, or capable of much improvement by altera- 
 tions should be criticised, and the deficiencies removed bj' the 
 pupils under the teacher's directions. When made as satisfactory 
 
BY PROF. WALTER SMITH. 
 
 •?» 
 
 aids, 
 rence 
 )th are 
 (\ we 
 
 iU'her 
 
 make 
 
 metric 
 
 et for 
 
 Id be 
 
 icd by 
 
 They 
 
 and 
 
 t with 
 
 hould 
 
 have 
 
 those 
 
 Itera- 
 
 y the 
 
 utory 
 
 as can bo reasonably ex])ected from the children, they should then 
 be drawn in the books. 
 
 The reason why this week's consideiation of a design by the 
 children is necessary, will be at once apparent to every teacher. 
 It is impossible to sit down at stated times, and desii^n a pleas- 
 ing pattern ; for this is labor which demands time and thought 
 to arrange ideas and try experiments, building up the whol<» by 
 repeated ettbrts and fresh observation. A week's interval gives 
 time for this, and is not a great irifliction on the child, but rather 
 a pleasing employment of leisure-time. 
 
 At the risk of falling into the repetition 1 have already de- 
 plored, and with tbe hope of fmally creating some detinitc ideas 
 on a subject not (juite new, the question ot ruling and measuring 
 must also be considered. 
 
 In freehand drawing, the han<l should be trained to do without 
 the ruler in drawing straight lines, and th«^ compasses in striking 
 circles; but, after the hand has done its best by the guidance of 
 the eye, its work should always be tested by mechanical tcHts, 
 those being alone to be wholly relied upon. 
 
 If you want pupils to get accustomed to work with accuracy, 
 make them always correct their inaccurate work step by step, 
 never letting a wrong measurement j)ass, until the pupil feels 
 that it is of no use doing work which will have to come out again, 
 and that will soon result in a careful procedure from the Hrst. 
 
 In this matter we have to be guided very much by what 
 practical artists and practical mechanics and draughtsmen would 
 do. However well trained their eyes may be, they never wholly 
 rely upon their vision when geometric truth has to be expressed. 
 And, though 1 would never allow a child who could draw a 
 practically straight line to rule it first before he tried to draw it 
 by freehand, 1 would invariably require the test to be a})j)lied, 
 and corrections made, so that finally the result should be pra<'- 
 tically right. The same applies to exercises in model-drawing. 
 A good draughtsman does not want a ruler; it is inconvenient 
 to him : but that is because his eye is trained enough to rely 
 upon in all freehand work. But even he at once resorts to its 
 help when accuracy is required, thus correcting his imperfect 
 work by a perfect test ; and my plea is, that we cannot deny the 
 use of such means of testing their work to young children, as 
 practical and educated draughtsmen find indispensable to make 
 their work of practical use in industry. >. - . 
 
■! 
 
 80 
 
 NOTES FOR TEACHER R. 
 
 The namo8 of colors, thoir original and compoHite characters, 
 will form [)art of the inHtructioii iindei' other headings, but may 
 fitly 1)0 referred to, also, in connection with Icssohh on form. 
 Such termH as "primary," " Kec<m(huy," and "teinary" colors, 
 the product of the admixture of primaries and secondaries, the 
 common and artistic names given to hues, tints, and shades of 
 the tliree grades of colors, complementary and harmonizing coloi-s 
 and tints, with infoiniation of the proportions of surface in which 
 they are agreeable to the eye, should be explained, with the 
 assistance of diagrams, in all tJie classes. 
 
 TENTH YE All. 
 
 Two hours per week. Two !• <sons, one hour earh. Pupils draw on paper 
 aiul blackboard ; teachers on blackboard and pajwr. 
 
 Subjects of /wessons. — 1. Perspective, parallel and anj;ular. 2. Models and 
 objects shaded with (a) point and (f>) stump. 'A. F'reehand analysis of plant- 
 form and historical ornament. 4. Applied design. 
 
 1. PEiisj'E("riVK, Parallel and Ancjulab. — Keview the prin 
 ciples of perspective delineation given in the last classes on dirter- 
 ent objects. Find the distance to right or left of spectator, atid 
 distance into the picture of points lying on the ground. Measure 
 heights of vertical lines standing on the ground. Diaw cone and 
 cylinder with axis vertical, bases on the ground, no part of solids 
 to touch the picture-plane. In parallel perspective (one vanish- 
 ing-point), draw groups of solids, such as (1) a ])linth, with prism 
 standing on it, and terminated by a pyramid, all rectangular 
 solids, with axes continuous and vertical ; (2) a pyramid standing 
 on a plinth ; (3) a flight of steps ; (4) a double cross standing on a 
 cube; (5) a circular plinth or disk, with a frame (triangular, 
 square, or hexagonal) standing u})on it , ((J) hexagonal plinth, 
 with cone upon it ; (7) skeleton cube. In angular perspective, 
 take the same subjects and dimensions, — cylinder, hi^xagonal, and 
 rectangular prisms, with horizontal axis nuiking angles with the 
 picture; chair, table, antl box; open door. 
 
 Demonstrate by cliogram that a measuring-point measures the 
 perspective length of a given line. Demonstrate that the mrfhod 
 of measuring ])erspective heights is true by the problem xx.\iii., 
 Euclid, book i. lOxamples in parallel persj)ective to include an 
 interior with objects previously drawn ; as furniture, table, and 
 chair. Show oj)en doors and cornice; also windows and fireplace. 
 
aractei'K, 
 but may 
 >n form. 
 " eolorB, 
 I'ios, the 
 hades of 
 iig colors 
 in which 
 ^vith th(3 
 
 V on paper 
 
 odds and 
 i of plant- 
 
 thc priri 
 
 1)11 dirt'cr- 
 
 itor, and 
 
 Meawuro 
 
 iriic and 
 
 of .soIidH 
 
 vanish- 
 
 h prism 
 
 anguhir 
 
 tandinii: 
 
 ing on a 
 
 uigular, 
 
 plinth, 
 
 )cctivc, 
 
 al, and 
 
 ith the 
 
 
 I'CH tlie 
 mrfhod 
 xx-xiii., 
 iidc an 
 ic, and 
 cphicc. 
 
 BY PROF. WALTER SMITH. 
 
 ax 
 
 View down a street with houses on both sides. An arched passage 
 with tiled floor; Hooi-, octagonal and hexagonal tiles. And similar 
 problems. 
 
 In drawing a circular ring, square in section, explain what is 
 meant by "the procession of the diameter" applied to the irtner 
 concentric circle of the ring. 
 
 2, Models a.nd Oh.jects. — (</) Shading I'-ith Point. — Kxplain 
 meaning of terms ''light,' "shade," "shadow," "cast shadow," 
 "reflected light," "high light," and "glitter-point." illustrate 
 the relative depth of these by examples and l)y objects,— sj)here 
 and cube. K.KpIain halftint, cr(tss-halching, and '.hppling, by 
 three .separate exercises; hIho flat tint and gradafior. by straight 
 lines and curves used in shading, — (1) on thro-^^ visible faces of a 
 cube; (2) on a sphere or cylinder. Jjcarri piinciples of light an<i 
 shade Iw copj'ing good examples of geometric solids, and objects 
 base(! upon them, — cone, cylinder, an*! sphere, vases, pstchers, 
 teacup and saucei-, fruit-forms, cube, plinth, prisms, pyramid, 
 fi-ames, crosses, rings, boxes, &c. 
 
 Illustrate bad work by sketching on the board fnot to be copied 
 by the pupils) exampU^s of cro.ssing the shading-lines wrongly in 
 cross-hatching, making the lines irregular or uneven, losing the 
 lines too much, oi- leaving tluun showing too much. Show how 
 to I'cmedy bad shading, or im{)rovc it, by enisure or stip))ling. 
 Direction of shading-lines to exj)ress the surface and jiosition of 
 forms; as vertical lines ' vertical planes, curved liiu's on round 
 surfaces. ' 
 
 Kxplain terms used ; as breadth of light and shade, chiarf>- 
 scuro, repose, gr.'idation Irom light to dark, middle tints, light 
 against dark, and dark against light, contrast and harmony of 
 depths. Highest light and dai'kost shadow in a subject. Values 
 of masses in a composition. How color can be suggested l»y its 
 value in the scale of lighi and shade. The similai'ity or <lifrerence 
 in the progress from the highest light to the deepest shades on a 
 white and a dark object. 
 
 (h.) ShadijKj with Stuinp. — Kxplain luiture of materials used, 
 
 the leather and |»aper stimip, the chamois-skirj, the (si'asing-point. 
 
 Method of using shading-material, soft cra^'on rubb(>d to a powder, 
 
 or the French sauce, on ])aj)er. Hej^eat and review })i'inciples of 
 
 light and shade exjdaincd at commencement of point-work ; also 
 
 exercises on j'ubbing flat tints, three examples, — light, middle, 
 
 F 
 
^ 
 
 NOTES FOR TEACHERS. 
 
 and dark. Gradation (i-om light to dark, — the first on throe 
 faces of a culje ; the second on a t^phere, cone, or cylinder. 8how 
 method of lightening heavy work, and strengthening the depths 
 of shadow and cast shadow. Working with stumj* to a sti-aight 
 lint?, erasing points of light, or recovoring lost lorms hy erasure. 
 Subjects to include vases, white objects, double cross, and skeleton 
 cube. 
 
 3. Freehand Analysis, Botankal and Historical.— The 
 growing planl in flower, or part of it, to be diawn from nature, 
 showing all the featui'os of ruitnral growth (six pot-})lants in a 
 class-room would be sutticient), — arrangement of leaves on stem, 
 flowers, and buds. Then draw front ami side views of the same 
 features geometrically arranged, conventionalized, and display- 
 ing materials for design, and ornamental capacity of the plant. 
 Keep the relative sizes of leaves, buds, and flowers. Tjot the 
 drawing from nature and the conventionalized drawings be made 
 on the same page in the book, or on the same sheet of paper, for 
 comparison. Hoth of these to be of the luitui-al size if a small 
 plant, and to be reduced i?i proportion if too large. The shade 
 and shadow which give the effect of roundness may be indicated 
 by tinting with lines 0!i the study fi-oni nature, but not on the 
 geometrical treatments. Appl}^ the })ractice in shading with 
 point to the stud}'^ of the growing j)lant, or use the stumj) to 
 indicate tint and shade if pi-eferred. [n historical analysis, 
 select groups of the same features in several styles ; as, for 
 instance, the s(nilptured foliage, or the enriched moiddings, or 
 the capitals of columns. Draw them upon one page for compai-ison 
 and analysis. 
 
 4. Applied Desion. Km])loy the plant-forms before analyzed 
 as subjects for the designs. Select the object of design ; as jwr- 
 celain or pottery, wall-jiapci', lace-collar, tiles, «&c. Explain that 
 orna?\jerd foi- a flat sui'iaee should not suggest relief oi' round- 
 ness ; shading should not enter into such designs; that designs 
 for hoi'izontal planes (floor and ceilings) should be radiating from 
 a point Of from all points, and not have leading lines running 
 prominently in any dii'ection, except in borders ; that designs for 
 vertical planes (walls) should have a vertical axis or tendency ; 
 that symmetry, conventionalism, and repetition of details, should 
 form the features of design for industrial or decorative ornament 
 for subordinate purposes. Design the unit of repetition, whether 
 
BY PROF. WALTER SMITH. 
 
 83 
 
 jii three 
 
 iv. Show 
 
 o <lepthK 
 
 sti'iiight 
 
 erasure. 
 
 akeletou 
 
 ^L.-The 
 I nature, 
 intw in a 
 on Htem, 
 I he same 
 
 display- 
 le plant, 
 
 f>ot the 
 he made 
 aper, for 
 
 a small 
 he shade 
 indicated 
 I on the 
 n 
 
 imp to 
 
 nalyHiH, 
 an, for 
 igs, or 
 
 lai'ison 
 
 uilyzed 
 Jis }>or- 
 lin that 
 
 loiind- 
 :lc8ign8 
 g from 
 mining 
 gns for 
 lency ; 
 nhould 
 lament 
 
 lethor 
 
 a rjuarter, sixth, or half of the complete arrangement. Trace, 
 transfer, an<l complote the design by repeating the unit as often 
 as it occurs. Add the half-tinting h}' lines or stump to distinguish 
 or emjihasize parts. ( V)ml»int', geometric forms aiid liiu's with 
 the conventionalized natural forms, to give value to both. When 
 the element of repetition is simple, use the smaller plants and 
 flowers of simple <haracter, as those of the lily or rose family. 
 
 Strive to teach the principles of consistent good taste in design. 
 The pupil's work should show these, rather than be important 
 yearning after originality. If the j)upil has been led to apply 
 the Iws of good design ami pure taste, and thus acquired some 
 perception and knowledge of the tit and the beautiful, originality 
 may be de\ eloped from this, if it has not already displayed itself, 
 Florrible originality is not to ho sought after, nor of value if 
 discovered. 
 
 KLEVEN'l'H YEAR. 
 
 Two lioiirs pfT week Two lessons, one hour each. Pupils draw on paper 
 and black lioi' S^achers on l)liiclvboui(l aiul i>aper. 
 
 Siihjficts of j'.,,^oons.- -I . l*t;rspective, angular and oblicpie. 2. Motlels and 
 ol)jocts, shaded IVom solid. 3. Freehand analysis of plant-form and historical 
 ornament. 1. A|»plied design. 
 
 1. PKRsPKOTrvE. — /l/(yM/a/-. -— ( 'ontinue exercises in angular 
 pei'spective on problems at a distance from picture-plane. V]x- 
 plain use of half measuring points and method of ])ractical 
 w, "k when one or more vanishing-points fall outside the |)aper ; 
 also method of measuring great heights at far distances. Prac- 
 tical method of putting any curved line ijito perspective. Use 
 geometric plans and elevations of grouped solids to put itito 
 persj)ective. Illustrate the roverne process of taking an object 
 out of pers])ective, and making a geometric plan and elevation 
 of it to scale, (live simpU* pi'ohlems in the perspectives of 
 sliJidows on subJiH'ts such as the s]>hei'e, culx^, cone, (ylinder, and 
 cross oti horizontal, vertical, and obli(pie ])lanes. Draw the 
 illustration proving that a circle seen obli(pie to its j)lane ap|)ears 
 as an ellipse; also the dt'monstration that the long diameters of 
 concentric circles, when .^een in ]»orspective, are not identical. 
 Explain why this is called '' the procession of the diameter," and 
 affects the form of concentric circles and objects based on the 
 cone and cylinder. Show the perspective of a regular pattern, 
 as a fret, turning round a curved surface, as a cylinder or a vase. 
 
84 
 
 NOTES FOK TEACHERS. 
 
 Oblique. — Three vunishing-points. Explain the theory of 
 vunishin^-pljiries and vunishiMii;-liiie8; the vuMishirig-point of an 
 ol)I if I lie lino, and method of tinding it whei) the position of line 
 is given. Dernonsti-ate the accuracy of the })rocess hy a square 
 plane perpendicular (o the gconnd-])hino, an<l making jin angle 
 with the j)ictiire of torly-tiv(5 degrees, its diagonal vanishing 
 upwards at the angle of forty-tivo (k-grees with ground. Show 
 method oftinding the nieasiiring-point of its vaiushing-point, and 
 measure the diagonnl. <'oni[»aro (his measurement with the 
 diagonal of the geometric s(|uare. Draw right-angled triangles, 
 the hypothenuses forn^ing oblique lines — tirst, of Ibrty-five 
 degrees, and, second, at sixty or thirty degrees — with ground 
 and picture. Apply this piactice with one oblique vanishing- 
 ])oint to drawing of s<juarc ))!ancs, both diagonals making angles 
 of forty-five degrees with gi'ound plane, hraw a book in angular 
 perspective, with i(s half-open cover in oblique perspective; 
 rectangular prism, cylinder, and cone, with oblique axis. I'ut 
 the box, table, and chair oi' the last 3car's problems drawn in 
 angular, now into oblicpie, pei'spective ; also single and double 
 cross in I'equired positions. 
 
 Combine in one drawing (a) the interior of a square room in 
 j)arallel perspective, (h) a table and chair in .'uigular perspective, 
 (c) a leaning chair, or cube on the tMble. in obli<jue perspective. 
 The floor of the room to be tiled, and the princi}»al feature of the 
 floor to be a largo circle three-fourths of the width of the j'oom. 
 Also the exterior of a house, obtaining the piineipal lines by 
 rule, and adding accessories of foreground foliage, details, &c., 
 by freehand. 
 
 2. Models and Ob.jeots. — With Point. — Repeat and review 
 the principle of light, shade, and shadow, and ex|)l'un full\ the 
 meaning of chiaros''uro applied to drawing in light and shade. 
 Demonstrate that the shad(jw on a v.hite object is not black. In 
 all cases see that the outline-drawing of the object is in true 
 perspective before the shading is begun. The light upon the 
 object must come from one source, no cross-iights being [»er- 
 mitted. The cube and sphere drawn froni copies last year to bo 
 the fii'st exorcises from the solid. The culx- to illustrate light, 
 shade, and shad(»\v, and cast shadow on the three visible faces 
 and on the horijcontal i;!Hne upon which it rohts. The light to be 
 represented by faint half-tint of vortical parallel lines, not 
 
ory Of 
 
 it of an 
 
 of line 
 
 sqiuire 
 
 n angle 
 
 nisliing 
 
 Show 
 
 int. and 
 
 ith the 
 
 iiinglos, 
 
 >rty-tivo 
 
 ground 
 
 nisliing- 
 
 r angles 
 
 angular 
 
 pectivo; 
 
 is. I'ut 
 
 rawn in 
 
 I double 
 
 room in 
 ptjctive. 
 peetivo, 
 •e of the 
 I'oom, 
 inoH by 
 luls, &c., 
 
 review 
 ■'! the 
 
 shade, 
 lek. In 
 
 in true 
 |)(>n the 
 
 ng [)er- 
 W to bo 
 le light, 
 
 lo faces 
 
 it to be 
 
 m, not 
 
 BY PROF. WALTER SMITH. 
 
 crossed; the shade, by vertical and oblique parallel lineH, crosR- 
 hatched ; and the shadow, by the same linos as the shade, the 
 shadow having the addition of stippling to re<lu«^e the color of 
 the pajier. The (^ast shadow, a degree darkt-r than the shadow, 
 to be begun with tirm horizontal lines, and lini^hod, like the 
 shadow, by stippling. In the Hphere, illustrate the .^anie jtrogreHH 
 from light todarki.n j»erfect graduation, adding the reflected light 
 between the shadow and cast shadow, and the higliest light, or 
 glitter-point, tlroups ot' solids having one common object, such 
 as a pitcher or fruit of irregular Ibrni, to be taken as subjects, 
 preference being given those which are either white or of a light 
 color. Strive foi- theettectof roundness or projection, so that the 
 shaded object may appear to stanci before its background. In 
 drawing backgrounds, let the darkest pavt be near the lightest 
 side of the object, and the lightest part contrast with the shady 
 side ot the object or gi-oup. (Jroups of two objects, — such as 
 the triangular frame vertical with the cone, its ajtex passed 
 through the Irame and base oblique ; the hexagonal frame and 
 cylinder leaning in an oblique position through the frame ; double 
 cross, with sphere I'csting on it. 
 
 With Stump. — Objects of a darlcer hue may be chosen as 
 subjects for stuirp-drawing from solid, (rruups in which colored 
 forms conti'ast with white; as a white \aseand fruit, — orange, 
 lemon. a]»})le, cocoa-nut, grapes; or a colored vase on a white 
 plinth, rectangular, circular, oi- hexagonal, and a sphere or cone. 
 Foliage of a simple large kind, or a single flower, may form 
 part of the group, or a large white sijell, or .shell of light color. 
 Good pottery and porcelaiti forms will give varietj' to the groups, 
 oi- may be used as subjects .singly. In treatment of the subjects, 
 avoid heaviness of ertVf'f wx masses ot dark tinting, and see that 
 there are three distinct tegrees of dopth in the grou]» of objects; 
 two giving contrast, and three iuirmony. Have one vase with 
 oblique axis in one of the grou])s to apply and levive the knowl- 
 edge gain^-id in ju-evious classes nbout drawing objects in such 
 positions. Every object <lrawn singly, ov objects grouped together 
 to be relieved by a background, to assist in obtaining i-oundnes.s 
 of effect, and give value a ad character to the objects. Show how 
 to get eft'ectfi of rough surface bv erasure, or by skilful handling 
 of the stump. Seek alter transpareticy and clearness of tint and 
 shadow, On i; lazed or polished objects, observe (he reflection of 
 adjacent objects, and the high lights, or glitter-points, on ouch. 
 
Kl 
 
 NOTES FOR TEACHERS. 
 
 In shading colored objoctn, rub a Tiiedium tint over the whole 
 form, at first, talte out the liL';htH, and add the shades and 
 shadows. The broad sliades and shadows to be laid in first, to 
 obtain the i^eneral effect; i^radation and detail to be added after- 
 wards, to express individuality of character in parts. h]x]jlain 
 the difference between a slcetch which is the first condition of a 
 drawing to be finished, and a sketch which is always to remain 
 a sketch : what should beatlein])ted in each, and what avoided ; and 
 how much of the whole truth each is intended to express. 
 
 3. Freehand Analysis, Botanical and Historical. — Take 
 as subjects the lil}' and the honeysuckle, and show b}' geo- 
 metric di-awings the ornuniental treatment of these subjects, 
 as the lotus and anthemion in the F^gyptian and fJreek styles. 
 Draw details from the historic sheets side by side with the con- 
 ventionalized parts of the flowers. Climbing or |)ai'asitical plants, 
 — as the ivy, passion-flower, ho]i or vine, scarh't-runncr, sweet- 
 pea, or morning-glory, — showing arrangement of leaves and 
 flowers on the stem, front and side views of leaves, buds, and 
 flowers, and variety iri si/c of leaves on the same plant. Draw 
 the plants from natui-al specimens growing in pots, and to be 
 found in the class-rooms, or to illustrate lessons in botanj*. The 
 study from nature may be in outline, or shaded with point or 
 stump; the |)lant and its botanicjil analysis to be on one page or 
 sheet of pajvi. 
 
 In historical analysis, take as subjects a surface and a s<ulp- 
 tured moulding of an}"^ three styles; or a detail common to many 
 styles, such as the fret or labyrinth, — showing the difference 
 or similai'it}^ of ti-eatnit-nt by comparison, as (iisj)la3'ed in the 
 different styles. 
 
 4. Applied Design. — Select objects to be ornamented, — as 
 vase-forms, plati'-borders; porcelain objects, — as pitchers, bowls, 
 teacups; glass,- -as goblets, globes lor gas-bra<-kets, encaustic 
 tiles. Use as subjects the ])lant-f()rms analyzed in this year's 
 course. Or take the details of historic ornament foi- l)orders 
 and lines of enrichment in the style oftircek vases; as the fret 
 guillocho, wave-scroll, echinus, astragal, anthemion of Cxreek 
 ornament, or the same fieatures with the acanthus foliage of 
 Boman ornament, or the conventional filiagt; and details of the 
 Gothic or Mooiish slyl*'' Jf'the designs be for panels or vertical 
 U>i'ders, t* tt> be the •«4'Uiuuent of sj>iUkirels or brackets, or for 
 
BY PROF. WALTER SMITH. 
 
 8T 
 
 sculp- 
 mtm V 
 'I'c'iu'e 
 n the 
 
 — as 
 
 ||(>w1h, 
 tiustie 
 
 )i'dei'H 
 fret 
 
 It reek 
 
 li'e <>1" 
 the 
 
 li'lical 
 lor 
 
 metal-work and scroll-ornament, use the materials found in 
 creepini^-plants with loni^ stems, named as subjects for botanical 
 analysis, hesigns for carved ornament in architectural enricli- 
 ments externally used, or to decorate a piece of furniture — as 
 cabinet, book-case, fire-place, chair — or any useful objects. 
 Those which are in the round, and require sculptured ornament, 
 in one color, or to be ornainentel bj'^ few and simple colors, as 
 named above, to be chosen in piefence to others. Emphasis to 
 belaid on the moderate use of ornament, and its subordination 
 to the use of the objert ornamented ; also tliat the true aim of 
 good design is to increase the beJiiity and attractiveness, without 
 limiting the practical value of an object; that good design re- 
 cognizes the nature and capaltility in n^mufacture of the material 
 in which an object is to be made, as well as its use, as a guide for 
 the <lec-(>ration suitable to it; that design for wrought ami cast 
 metal cannot be identical, il* the limitation and capacity of the 
 materials be considered ; that the matei-ial of wood, which is 
 fibrous, and of stone and marble, which ai-e granular, must be 
 ditferently treated in design; that printed or stamped and woven 
 fabrics have varying capacities to display design, requiring 
 special consideration in their treatment. These fii-st principles 
 may be illusti-ated by reterence to good and bad instances of 
 design coming within the observation of teachers and pupils. 
 Explain to ])Upils the propositions of Owen Jones concerning 
 design. 
 
 TWEl.FTH YEAR. 
 
 Two hours per week in one loaHou. I'Mpil.'i draw on paper and blackboard ; 
 teachers on p«|)er anil bhukboard. Special class-room with casts and ex- 
 amples required. 
 
 Subjects of Lessons. — 1. Historic oi nament, in monochrome and color, from 
 tbe cast aud examples. 2. F^igiit and shade ; with brush, from examples, cast, 
 and nature. 3. Color and narmony of proportions from diagrams, tvamples, 
 and nature 4. Applied designs. 
 
 1. Historic Ornament. — /n Monochrome, — First exercises 
 with the brush iti laying flat washes or even tints in one color. — • 
 sepia or India ink — and <i.i'adations from light i<> dark. Apply 
 this to drawing from the plaster (^ast examples* of good historic 
 ornament, sculptured, su»l> as the high-school drawing-cla.sH 
 room usual 1}' contains. The scroll of Lysicrates , the antetix of 
 the Parthenon; the fret, antheraioii, echinus, and astragal, and 
 
88 
 
 NOTES FOR TEACHERS. 
 
 i^uilloche moiildini^a of (ri-eok oi'iuimont; the acanthus foliaijco 
 and mouhlintrH and Hcroll-mouldin^s and ronettes of koman ; 
 the trac((ry, foliaii;e, and capitals, and enriched or geometric 
 mouhJinji^s of (rotliic; the incised wall-ornament of Mores(iiio; 
 or the various treatments of relief-ornament in the Renaissance, 
 — would all be suitable examples. With j)revious practice in 
 drawiui^ and shading, and only the use of the brush to contend 
 with, the pupil may be expected to draw the easier casts in two 
 or three lessons. Apply the knowledge of lii;'ht and shade, gained 
 in the lower classes from i-egular geometi-ic and other forms, to 
 this subject. Require each ])U))il to ])ointout light, shade, shadow, 
 reflected light, and cast shadow on the cast, and upon details 
 of it, before beginning to shade. Have a good example of 
 cast-drawing in water-color monochrome, by the teacher ol' the 
 class, suspended in the room for occasional reference. Teach 
 the pupils to lay in shade, shadow, and cast shadow, in one 
 broad wash, whei'c they come together in large masses, so as to 
 get the general ett'ect before attending to details. The greater 
 the number of pupils that can be placed to see one cast, 
 the better, so that the teacher may give general instruction 
 to the grou]) drawing one example. The teacher should have 
 a drawing of his own of one subject, drawn in stages to 
 show the progress oi' the work from the tii\st wash to the tlnish, 
 about four degrees of advancement, shown in four sketches, to 
 refei' to when questions about process are asked. The more the 
 pu|)ils can be kept together working on one stage ot the drawing, 
 the more time will be available to the teacher far individual 
 correction, as well as general instruction. The highest form of 
 teaching is to devclo]> st'lf-hel]> ; and it is as destructive to educa- 
 tion to deluge a pupil with ovor-instiuction, as it is to let him 
 perish for lack of information. A Judicious proportion of help, 
 and absence of help, from teacher to pupil will develop both 
 progress and self reliance in the latter, and give scope for the 
 improvement and growth which alone come from within. 
 
 In (^olor. — The ornament in color should be trom the p\iblished 
 examples of st3des, such as those of Owen Jones, Kacinet and 
 others. Typical examples of colored or surface ornament should 
 be chosen from a definite number of styles, and then be drawn 
 by the ])upils on one sheet ; a small exajnj)le of thi-ee or loui- 
 styles being preferable to a large subject in one style, which 
 would occujjy as much time as the smaller ones. This work can 
 
BY PROF. WALTER SMITH. 
 
 89 
 
 •awn 
 
 be accomplished best by class-teaching, all the class working 
 from a lai-ge diagram of each examj)le prepared by the teacher; 
 the mixture of tints, and the order of proceeding in copying the 
 example, being directed by the instructor from the blackboard, 
 or in front of the large diagram, — individual instruction being 
 required only to correct departure from the general directions. 
 As a rule, avoid mixing colors or tints for individuals ; hut pro- 
 duce the tints required bciore the whole class, whilst giving 
 general instruction to all; and require each pupil to produce the 
 same colors by his own skill, and foll<>wing the directions of the 
 teacher. The exact matching of delicate colors cannot always 
 be obtained ; for all people are color-blind to some extent. 
 
 2. Lkjiit and Shade. — The knowledge of using brushes and 
 color in the exercises of historic ornament will prej)arc the pupils 
 for the more aesthetic study of forms, su(;h as are to be found in 
 the human figure, architectural master-pieces, or landscajte com- 
 positions. Busts, statuettes, hands, feet, nuisks, or subjects in bas- 
 relief of the human tigure, may be imdortaken in this depart- 
 ment; the j)Upils being seated for study round the subjects in as 
 many groups as are necessary for good views of the casts and 
 receiving both general and individual instruction upon them. (It 
 must be und(^rstood from the first, that a proj)erIy lighted class- 
 room, fitted with suitable examples for stud}-, is as necessary to 
 the stud}" of the advanced departments of elementary instruction 
 in drawing, as are the chemicals and turniture in a laliator}' for 
 the study of cheniistr}'.) 
 
 Arrange the lights so that they do not intei'fere, and never 
 allow any cast to reccuve lights fi'om two sources, lias-reliefs 
 and profiles of busts are easier to draw than statuettes, or front 
 views of the bust. Remember this in ])lacing the [)Upils, pro- 
 viding for eacdi according to his powers or needs. In landscape 
 studies in one color, the system of class-instruction followed in 
 teaching colored studies of histoi-ic oiiuiinont will also apply 
 here. One large study com})leted, with three antecedent stages 
 to place before the pupils and show them the steps by which the 
 final i-esult is attained, supplemented by actual illustration before 
 the clasSj and full explanation of the processes, will be found 
 thoroughly e(H)riomical of the teacher's time, and pioduce the 
 best results. The drawing taught in the high schools is as ele- 
 mentary in its grade as that taught in the primary schools, and 
 
m 
 
 NOTES FOR TEACHERS. 
 
 itH object is not to make artiHts of a few, but to insure that all 
 sliall learn to see and think in a true and retiuod way. Thin may 
 bo atlaine<l in drawing as it is in the classicH by a whole class 
 studying the same book ; (or, though all may be learning the 
 saino thing, it will be something new to each pupil. For studies 
 from nature or still life, single objects, as fruits of one color,- - 
 such as the orange, lemon, cocoa-nut, — shells, &c. ; or groups 
 consisting of a vase, a piece of fruit, or a Hower, and any third 
 object which will harmonize with them, having a background of 
 drapery to assist in getting the ett'ect. In this year's work, 
 geometric solids should not be taken as subjects, the training in 
 the principles of drawing having been sufficient in previous years, 
 ivJow, these pi'inciples should l»e applied to the re])rcsentation of 
 irregular forms based on the regular, which will include all na- 
 tural forms that can be seen by the eye. Further explain chia- 
 roscuro, and the exact position of studies in monochrome in the 
 scale of ai'tistic representation, as embracing two of the three 
 chai'acteristi(;s in the appearance of an object, 1^hus to the eye 
 a natui-al object may appear to have — (1) form; (2) roundness; 
 (3) color, fn art its form l)eing suggested by outline of contour 
 and Hurfiice (1) ; its roundness or solidity, by light and shade (2); 
 its color, by tints (H). To express it fractionally, outline, with- 
 out shade or color, gives us form, which is one-third Q) ; light 
 and shade with outline, but without color, gives us form and 
 roundness, which are two-thirds (1) ; color, with outline and light 
 and shade, gives us form, roundness, and color, which are three- 
 thirds (3) of the truth, if each fraction be true. B3' this and 
 similar illustrations, explain the order in which the study of 
 representation should be followed, and the i-elative importance of 
 each element in the expression of tnith. Pupils must be taught 
 what to look for in an object before they can see it. F^ven when 
 it is before their eyes, they must be made to see with their brains, 
 as well as to look with their eyes. The sense of sight, and faculty 
 of vision, are not the same things; the first being physical, and 
 the second mental, both combined being true perception. For 
 this reason, it is proper to study form by commencing with a 
 knowledge of that which is simple and regular in line, plane, or 
 solid, — by that which can be formulated and defined, and which 
 does not change. Taking this as a gi-oundwork, it is possible to 
 see and estimate the complex and irregular, and fix the precise 
 degree and character of the v^ariable ; so that individuality may 
 be perceived and expressed, even in its most subtle developments. 
 
BY PROF. WALTER HMTTH. 
 
 91 
 
 vvhen 
 [rains, 
 i,culty 
 I, and 
 
 ^ith a 
 10, or 
 
 iliC'h 
 
 )le to 
 
 Jecise 
 
 may 
 
 lents. 
 
 3. Color. — Diagravis. — The uhg of color Hhould bo tho hint 
 suject Htiuiicd in tho liii^host i^rade of primary schools, — tho higli 
 schools. Tho names, and to some extent the admixture, of colors 
 will have been taught thcoietically from the kindergarten u])- 
 wards through tho school course. In the last year of the high 
 school course, the elements of color should bo taught practically 
 by handling and using tho pigments which represent colors* 
 Begin by i-equiring each pu|)il to draw and paint a diagi'am of 
 color showing the primaries and seco!idarios, and a second show- 
 ing the secondaries and tortiaries. A third diagi-am, which gives 
 tho proportions of surface in whicii primaries, secondaries, and 
 tortiaries harnianize, will comple tho oloiniMitaiy oi" diagiam- 
 matic study of color. KuU ex])lanations of tint, tone, hue, shado, 
 neutrals, self tints, hot anci cold, advancing, and retiring colors 
 should be given, and, if time permits, illustratc(l b}' examples. 
 -Diagi'ams on a lai'go scale should be sus])cndod befoi-c the class, 
 and copied by each pupil. This proliininaiy work is rocpiirod to 
 save the time of both toachei's and puj»ils, and to make the study 
 of color further on an intelligent aj)plieation of principles, and 
 not a series of melancholy experiments. This work to be entirely 
 class-work, tho same for all. 
 
 Examj)les. — Examples which are to be used as copies by pnj)ils, 
 and in wliich this knowledge is illustrated, should be of objects 
 with pronounced i-oloi'ing ; su{di as fruits or tlowors, or any 
 subject painted from nature, with or without backgi-onnds. Indi- 
 vidual tastes maybe consulted as to subject; and tho same or 
 an e(iual amount of insti'uction in princi])los and ])ractico <-an be 
 given upon the drawing of a human ligiire or head, landscape 
 etfects, still life, or animal foi'in. If good original woi'ks in water- 
 color can be obtained for copies, so much the better; but good 
 reproductions of the best works, if made for tho purpose of in- 
 struction, are far better than poorly colored or wrongly drawn 
 ori>j"inals, just as a good cast of tho Apollo would bo better than 
 the original tigure-head of a vessel, and a line-engraving or pho- 
 tograph from tho Sistino Madonna would be better for us than a 
 nondescript daub of undoubted originality, if our purpose is to 
 study the beautiful. 
 
 Nature, — Studios from luiture of objects wliich are colored 
 naturally follow the principles learnt in the diagrams, and their 
 illustration from applied examples. Subjects which do not change 
 
IMAGE EVALUATION 
 TEST TARGET (MT-3) 
 
 {./ 
 
 
 /S^^ 
 
 
 ^ 
 
 U. 
 
 
 fA 
 
 1.0 
 
 I.I 
 
 IjIM iim 
 
 •f ** 11112 
 
 : *" IIIIIM 
 i 1.8 
 
 
 1.25 1.4 1.6 
 
 
 ^ _ _ 6" 
 
 ► 
 
 PhotDgraphic 
 
 Sciences 
 Corporation 
 
 23 WE<>1 MAIN STREET 
 
 WEBSTER, NY. 14580 
 
 (716) 872-4503 
 
 ,\ 
 
 iV 
 
 ^^ 
 
 o 
 
 «b 
 
 
 6^ 
 

 i/x 
 
 "m 
 
 Q.^ 
 
92 
 
 NOTES FOB TEACHERS. 
 
 either in- form or color — such as pottery-forms, or well-chosen 
 common objects in any material — should be the first exercises. 
 When a reasonable amount of expedition has been acquired, then 
 more perishable subjects— such as fruit, flowei-s, or still life — 
 may bo attempted. Single objects, with backgrounds either of 
 drapery or colored tiles or wood-work, are the most suitable when 
 lessons are only given once a week ; and it is better for several 
 pupils to Hludy from the same subject, for reasons before explained. 
 It is to bo never forgotten that the works produced are to 
 be studios, not pictures; and that the exercises in drawing, even 
 in this class, are to bo on the plane of original compositions in 
 language, or solutions of mathematical problems ; i.e., like school- 
 work in other subjects. Intelligent, expressive work is to be 
 sought for, and the fullest and most generous instruction imparted ; 
 but the practice of finishing highl}'^ in any one branch of 
 drawing belongs rather to the education of the specialist or pro- 
 fessional artist than to the high-school pupil, and it should not 
 therefore be attemjited. 
 
 General information concerning the harmony and contrast of 
 color should be given at every exercise, the lesson being regarded 
 as the nicans or occasion for this iuHtruction. Complementary 
 colors ; sinnuLaneouH, nuccessive, and mixed contrasts ; use of gold 
 in ornament ; ocular spectrum ; the harmony of tints, tones, hues, 
 and shades; how color becomes perceptible to the eye; what 
 results from the Hoparation of the rays of light, its decomposition 
 and recomposition ; what is meant by the absorption of certain 
 rays and reflection of others; the ditference between color and 
 pigments used in painting; colors of the rainbow; position of 
 primaries, secondaries, and tertiaries in nature; proportion of 
 surface which they cover in nature and natural effects; the 
 mental impi-essions made by the positive and neutral colors ; 
 influence of violent contrasts or false harmony upon the eye, — 
 information on all these pointH, fortified by examples which 
 illustrate them, will enable the teacher to assist thoughtful and 
 intelligent pupils, and lead others to think and become so. 
 
 4. Applied Design.- In this class good examples of applied 
 design should be placed before the pupils in the form of manu- 
 factured goods; thus, sheets of lace, paper hangings, cotton prints, 
 specimens of carpet patterns, encaustic tiles, oil-cloths, porcelain, 
 potteiy, or glass decoration, — the actual objects being the most 
 
BT PROF, WALTER SMITH. 
 
 93 
 
 suitable for the instruction of older pupils, who are expected to 
 produce designs in color, lllustruted catalojU'ues of the great in- 
 ternational exhibitions are suggestive material also with which 
 to teach design. Each high wool whould have a small collection 
 of objects and examples \ii which the purest taste and ripest skill 
 in design are displayed, as well as a library of illustrated books. 
 Two or four designs in a year should be expected from each 
 pupil, — the full size of the objects, or the full size of the unit of 
 repetition, if the design should be for carpets, wall-papers, &c. 
 Designs for lace, jewelry, or subjects in which the work may be 
 line or delicate, are best expressed by solid color on dark back- 
 grounds. As in all previous classes, thf resources of tlesign are 
 the materials to be found in nature, and the type-lbrms of good 
 historical ornament, the element of color being added. Avoid 
 over-elaboration, jHctorial ert'eets, the direct imitation of nature, 
 or redundancy of details. Teachers should study the treatment 
 and employment of ornament in Greek, early (iothic, and some 
 period of the Renaissance work. Few pujtils can be expected 
 to display great originality in design any more than in other 
 branches of education. But all will .show some, if the oppor- 
 tunity be given to them, accompanied with sound instruction 
 in principles and judicious encouragement. In colored dcHigns, 
 avoid brilliant colors; and, as a rule, the tertiaries with their 
 tones and shades will be best for iioor-dccoration, the secondaries 
 with self-tints and small features in gold for wall-designs, with 
 tints of the primaries for ceiling-decoration, relieved by tones of 
 the neutrals. Bright colors should only be used in small quanti- 
 ties, if repose be sought for. 
 
 General Remarks. 
 
 Teachers of drawing in higher schools, whether special instruc- 
 tors or regular teachers, should realize that drawing, like cveiy 
 other subject of an elementary and general education, should be 
 taught in class. The subject, when advanced from the grammar 
 to the high school, has not vhanged its nature or its methods, 
 only its place and materials for study, and widened its range. The 
 use of the blackboard to illustrate principles and methods of work, 
 and examples of form, is indispensable to good teaching of classes 
 in the primary and grammar schools; and the use of diagrams on 
 paper, to illustrate light and shade and color, for the instruction 
 of high-school classes, will be found equally indispensable to 
 
94 
 
 NOTES FOR TEACHERS. 
 
 good teaching in the high HdhoolH. Thiw involvoH on the part of 
 the special and regular toachei's a familiarity and skill with the 
 use of the crayon and brush, which may not be usual, but is 
 certainly necessary, and can be acquired as surely as the use of 
 the chalk on blackboard has been already learnt by the majority of 
 teachers. Special instructors in the public schools have the 
 responsibility of setting an example in this matter to the regular 
 teachers, and of showing them that sound knowledge of a subject 
 may be displayed in any vehicle and in every process. Such 
 diagrams in light and shade and color, as have been referred to in 
 this high-school course, arc not often available; for the subject in 
 thin stage of its development, and adapted to high schoois, has 
 not yet been commonly taught. It devolves upon the teachers, 
 therefore, to make them for thier classes ; and thoy will teach 
 the subjects better for the exercise. 
 
 In this stage of study, examples of a high class placed before 
 each pupil may bo as necesssry for economical as well as educa- 
 tional reasons, as they are in the lower stages; but such exam- 
 ples, without the personal and vitalizing influence of the teacher 
 drawing before his pupils, and meeting their difficulties by his 
 example and his skill, will not be sufficient. Working without 
 good examples is extravagant, and wasteful of time and opportu- 
 nities, besides being indiscribably stupid ; i-elying upon examples 
 ready made, without the life which comes from work before the 
 class and the result of persoruil work done for the class, is worse. 
 The true way is to make use of all that has been done in the past 
 by others of great skill, experience, or knowledge, as material 
 with which to help our individual efforts in teaching, but never to 
 fall back upon that as a substitute for such eftorts. (rood teachers, 
 whether young or old, must expect to spend as much time 
 out of school in thought and work /or their classes, as they spend 
 with their classes ; and success of the highest order cannot be pur- 
 chased at any cheaper rate, because it never costs less to obtain 
 it. That this is understood and expected is shown by the small 
 number of hours per diem that schpol is kept, ami the frequency 
 of vacations and holidays. Teachers must work out of school as 
 well as pupils; for without such work neither can attain self- 
 reliance in work or economy of time in school-hours ; and the 
 best teachers invariably do so. 
 
 It is presumed that pupils have learnt how to draw in the schools 
 and olasses below the high-school grade ; and it is as unreason- 
 
BY PROF. WALTER 8MTTH. 
 
 96 
 
 D part of 
 with the 
 al, but iH 
 le use of 
 ajorityof 
 have the 
 3 regular 
 a subject 
 IS. 8uch 
 red to in 
 ubjpct in 
 »ois, has 
 teachers, 
 ill teach 
 
 d before 
 8 educa- 
 h exam- 
 teacher 
 i by his 
 without 
 )pportu- 
 camples 
 ore the 
 
 worse, 
 ho past 
 laterial 
 lever to 
 achers, 
 time 
 
 spend 
 bo pur- 
 obtain 
 
 small 
 pioncy 
 iool as 
 n self- 
 tid the 
 
 chools 
 •eason- 
 
 able to each elementary drawing in its lowest stages in the high 
 school, as it would be to teach reading and writing in them. 
 What is expected to be done here is to apply tht> power of draw- 
 ing already acquired to the Htudy of higher stages of the same 
 subjects on the high-school plane, which should show as much 
 progress in drawing as advancement in other subjects of general 
 education. This involves higher- attainments by teachers, and is, 
 as a rule, recogni/iCd by higher emoluments for servce. Though 
 it is not practicable to apply this standard at once in schools where 
 the scholars have had no previous preparation, or the teachers no 
 opportunities of a higher education, it is both reasonable and 
 practicable to do so whi3re this has been or is the case, and where 
 special teachers are employed ; always supposing that proper 
 examples for study are furnished, if attainable, and a suitable 
 class-room with fittings and lighting adapted for art study be pro- 
 vided in the higher school. 
 
 CONCERNING MECHANICAJj AIDS & TEACHING 
 
 DESIGN. 
 
 General Information. 
 
 Use of Mechanical Aids and Teste. 
 
 The pupil has to bo taught to draw both by the unaided hand, 
 and also by help of instruments and mechanical tests. IIow 
 much must depend on the eye and hand alone, and how, those may 
 be legitimately assisted by the ruler and compasses, and not only 
 tiow, but when and where, seem to be a perpetual puzzle to 
 teachers. How and how much may a ruler be used to test draw- 
 ing? is often asked. This must to some extent be a matter of 
 individual judgment ; but, for ccmvonionco, I have stated below 
 the manner in which the (luostion has always been answered by 
 me. In freehand and model drawing, a line must always be t\vt 
 drawn by the freehand alone before its length or direction can be 
 tested. Then both these features may be tested by the ruler and 
 measure ; but cori-ections must invariably be made by the hand 
 alone in sketching as well as in tiidshing. 
 
 So in the same way the symmetry of a symmetrical object 
 may be tested whilst the <lrawing is in the sketch condition ; but 
 measurements must never be taken from the ruler, nor must a 
 sraight line ever be ruled in freehand or model drawing. 
 
96 
 
 NOTES FOR TEAOHBR&. 
 
 In ordor to mnke clear the best rules for the practice of drawing, 
 and the proper use of mechanical aidH, the following regulations 
 applying to all classes an«l subjects are stated : — 
 
 1. Where Necessary. — In geometrical and perspective draw- 
 ing by instruments, and in the practice of designing, all assistance 
 to be derived from the use of rulers, compasses, and tracing-paper, 
 is to be allowed, awl in (hyiwing from memory or dictation of 
 these subjects also. 
 
 2. Where Optional. — In di*awing from dictation and memory 
 of free-hand exercises, mechanical aids may be sometimes per- 
 mitted, and in other cases wholly disallowed, accoiding to the 
 option and judgment of the teacher ; but practice in both manners 
 is better than in one only. 
 
 3. Where Forbidden. — In freehand drawing of objects or 
 ornament from the copy or solid, no mechanical aids are j)er- 
 missible ; 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 
 whei'eby the accuracy of drawing may be tested and corrected 
 whilst in the sketch condition, such as by the convergence of 
 retreating paralled linos in model-drawing, or the test of direc- 
 tion of lines, symmetry' of forms, and proportion of parts in orna- 
 ment, 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 practicial 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 con- 
 venience of teachers, and for reference. 
 
 V Elementry Design. 
 
 First, Second and Third Years. — Learn names and processes, such 
 as repetition and symmetry, units of design, working out the 
 ' repeats, balancing parts, etc. 
 
rawing, 
 Illations 
 
 e (Iraw- 
 Bistance 
 LT-papor, 
 ation of 
 
 memory 
 nes per- 
 [T to the 
 manners 
 
 bjects or 
 are i)er- 
 :i manual 
 isms and 
 I'ing is to 
 je means 
 forreeted 
 jfoncc of 
 of direc- 
 i in orua- 
 
 of those 
 purposes, 
 iiple and 
 
 ow may 
 awing?" 
 
 steps in 
 the con- 
 
 BT PROP. WALTER SMITH. 
 
 n 
 
 ■ises, such 
 out the 
 
 Fourth, Fifth, Sixth, Seventh, Eighth and Ninth Years. — Learn to 
 arrange, applying the knowledge and skill already gained in the 
 arrangement of forms, either from natural foliage, or historical 
 ornament, & thus take the first steps in applied design. 
 
 Tenth, Eleventh and Twelfth Years. — Learn to design for useful 
 purposes, thus exercising the ability to arrange form and processes 
 of working out ideas to ornament or aecorate some object of use. 
 
 Suggestions. 
 
 Simplicity of Arrangement. 
 
 One of the greatest faults in the practice of elementary design- 
 ing is over-elaboration. 
 
 The forms used must not bo too small in proportion to the 
 ground to be covered, because this loads 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 propor- 
 tion 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 one-third of the whole surface, the ornament 
 occupying the remaining two-thirds. 
 
 Half-tint may be employed to distinguish the ornament fr)m 
 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 groat 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 verti- 
 cal or a horizontal direction, or the treatment to be in a rosette 
 form. 
 
 2. Select the subject of the prposed design, whe'^er it is to be 
 a plant-form or an ornamental detail. 
 
d8 
 
 NOTES FOR TEACHERS. 
 
 3. Jf the first, ascertain the principle of <.i;rowth, with the op- 
 posite 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 or ornament be selected, notice how it has been 
 used in connection with other forms. 
 
 6. Draw by freehand the unit of design. Trace it, and repeat 
 
 it as often as 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. 
 
 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 Eoman 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 re- 
 taining only the broad general character and structural arrange- 
 ments of the plant. 
 
 Applied Design. 
 
 Proposition Concerning Design bg 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.*' 
 
h the op- 
 e stem in 
 les of the 
 
 8. 
 
 i. Draw 
 i material 
 
 has been 
 
 id repeat 
 1, distinct 
 
 BY PROP. WALTER SMITH. 
 
 99 
 
 ng 
 
 given 
 
 itj in new 
 
 )art8 of a 
 
 he leaves, 
 
 of leaves 
 
 may be a 
 
 mion, the 
 
 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 bo 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 
 bmnch 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.]" 
 
 le passion- 
 ^es to the 
 leaves and 
 should be 
 
 ute details 
 ign, but be 
 be taken, 
 es, and re- 
 il arrange- 
 
 • • • « 
 • • » , 
 
 
 
 it one from 
 crescences. 
 illy good or