the mass and continues to appeal to it, possesses the elements of utility. The superficial and shallow will endure for a day; that which is fine and true is lasting. In Germany the rich and the poor, the young and the old, the workman, student, and merchant, sit side by side at a Wagnerian production; all are interested, uplifted, instructed. No man has a corner on the appreciation of such music. It appeals to the average man, as does real literature and true art. The average man is the man of the mill,

The man of the valley, or man of the hill,

The man at the throttle, the man at the plow,
The man with the sweat of his toil on his brow;
Who brings into being the dreams of the few,
Who works for himself, and for me and for you.
There is not a purpose, a project, or plan,
But rests on the strength of the average man.
The man who, perchance, thinks he labors alone,
The man who stands between hovel and throne,
The man who gives freely his brain and his brawn,
Is the man that the world has been builded upon.
The clang of the hammer, the sweep of the saw,
The flash of the forge-they have strengthened the law,
They have rebuilt the realms that the wars overran,
'They have shown us the worth of the average man.

It is only that education which has a relation to life, day by day, that can be considered true education. The art that does not appeal to everyday existence is not the true art, altho that which at first glance seems useless and theoretical may prove to be of the greatest material value. "We live on the electricity in the air much more than we do on the food we put into our mouths," is another way of expressing the truth that the unseen forces are sometimes of the greatest utilitarian value.

Our daily life is the life that counts and everyday art is the only variety that is effective. Everyday art for the everyday man should be the motto of art education, and little by little we shall solve the problem of perfect utility, which means the ability and desire to be of the greatest assistance possible to our fellows and to work toward the uplifting of man and for the perfection of character.

KATHERINE BALL, San Francisco, Cal.-It has been said that of the art subjects, literature interests the greatest number, music a lesser number, and art least of all. The reason is not far to seek. Art is profound. It does not appeal to the people at large and in our public schools it is but a sufferance. There is instruction in drawing, but art instruction is something quite different; it is the education of our noblest sense, the eye. Taste varies from the lower to the highest according to the degree to which the individual has been educated, and it shows itself not thru words, which often mislead and do not express the true character of the individual, but thru the atmosphere and environment that one creates around one's self. We must create a true art atmosphere for ourselves. It is not a matter of splendor but one of simple beauty. We Americans are materialists and fond of display. But with display art has nothing to do. We must discard our false ideas and

strive to see what is beneath the surface. We may teach drawing all our lives and yet know absolutely nothing about art.

I wish that there were some way of teaching art principles outside of the drawingclass. It is not enough to study masterpieces and the lives of artists, and to content ourselves with schoolroom decorations that may or may not be art. We need to bring art into life thru the teaching of what is good in furnishings and decorations. We need art patrons who know something of art. We need museums where good art of every kind may be seen and studied. Our superintendents must be educated to a greater appreciation of the value and possibilities of art, for their support is a necessary factor in our success.

There is a theory and a practice; and the theory is valueless unless it is applied in practice. The eye is the only judge of what is good and what is not good. We must educate the eye and we must increase our knowledge of aesthetics.

THOMAS A. MOTT, superintendent of schools, Richmond, Indiana, spoke from the superintendent's point of view and regretted that the value of art education should ever be called into question. Mr. Mott laid emphasis on the practical value of art education, not merely as augmenting commercial values, but as developing that which is without price, the highest qualities of human character.

The schools can do much in the development of ideals and a sense of what is beautiful. The child quickly learns to distinguish good art from bad, and is capable of exerting a great influence on those around him. The influence goes out from the schools and affects the entire community. To cite one instance, thru the work done in the schools of Richmond, the shopkeepers are compelled to sell an entirely different class of goods from that formerly handled. The people will not tolerate what is cheap and tawdry, because their taste has been developed.

Those who have had some art instruction make better workmen. Their knowledge of what is beautiful increases their efficiency and thus from a purely utilitarian point of view the subject has a value. In many other ways the industrial wealth of the nation is increased thru a greater knowledge of beauty.

Art education is thoroughly practical. There should be no need of discussion. There should be art in every community, and that art should be centered in the schoolhouse, for from the schoolhouse the entire community may be influenced and everyone brought to a realization that art has a practical value.

But apart from the commercial value, the greatest value of the subject lies in its opening the "window of the soul." This is its most practical value.

MRS. ERNEST INGERSOLL, Evanston, Ill., expressed the belief that there is a growing tendency toward a national art development and emphasized the truth that art is not a matter for the few but for the many, and that it is after all simply an expression of what is within us.

A. B. CLARK, of Leland Stanford Jr. University, spoke optimistically of the development of art in the schools, and ventured the opinion that if the progress has been slow it is due to a large extent to mistakes on the part of the art-teachers. The essential is to develop an appreciation of simple beauty, and to show that it is not the cost that makes a thing good. The interest of the children must be aroused, and art presented in such a way that it may be grasped by the common people, for it is thru them that the work of the art-teacher must be accomplished.

MISS HARRIETT MOORE, of San Diego, spoke of simple work in color introduced into the schools of Brooklyn, N. Y., may years ago, and expressed her gratification at the great progress made in the teaching of color since that time.

T. L. HEATON, assistant superintendent of schools, San Francisco, referred to the necessity of teaching beauty in nature and in character as well as in art, and added that if the superintendents have been backward in their support of the art-teachers, it has been because the latter have not included all of art in their teaching.

UNIVERSITY ENTRANCE CREDITS IN DRAWING

A. B. CLARK, ASSOCIATE PROFESSOR OF DRAWING, STANFORD UNIVERSITY

Important articles on this subject appear in the published proceedings of the Eastern Art Teachers' Association for 1906. Those by Messrs. Bailey, Dana, and Perry and by Miss Sewell have direct importance. Also the Educational Bi-Monthly for June, 1907, published by the Chicago Normal School, is an almost complete treatise on the manual arts in schools.

Present condition of drawing in the secondary schools.--Drawing realizes today, in the largest secondary schools, the dreams of the pioneer drawingteachers of thirty-five years ago. It includes under the titles representation, design, construction, and art appreciation, not merely one course, but several.

Representation includes the grasp of form and beauty in both projective and pictorial drawing of type solids, household objects, plant forms, landscape, machine drafting and sketching; and the technique of pencil, crayon, and brush.

Design and construction includes the principles of balance, rhythm, and harmony; also the application of these abstract principles in designs, for book covers, title-pages, simple illustrations, color schemes for room decoration, etc.

Appreciation of the masterpieces of historical art; also modern civic art in parks, beautiful streets, and public buildings, is given attention in talks and lectures.

Working-drawings are made for objects involving both mechanical and artistic consideration, and in the manual-training shops, many of these, chairs, trays, book racks; articles for school use, as scientific apparatus, benches and tables; work in wood, metal, embroidery, and stencilling of fabrics, are actually made. These objects in their production demand thought, and the designing and making react most beneficially upon each other.

The result as a whole is satisfactory and gives the pupils great capacity for pleasure thruout their lives; and cannot fail to exert a most healthful and revolutionary influence upon the national arts and industries.

Superintendent Mott, of Richmond, Indiana, reported on Wednesday that in his city there is no question of the practical value of art teaching in the public schools, for during the past twenty years this teaching has revolutionized that city, so that people buy and enjoy better things in clothing, furniture, wall paper, and pictures. The art stores cannot sell what they formerly could; that the people so love beauty that examples of the best pictures and craftsman products of the land are taken to Richmond for the school exhibit each year, that people may form their taste upon what is best; and that the expense of this annual exhibition is borne jointly by the school board, the common council, and privately. The common council declare that no money they expend is so practical in increasing the fame and wealth of the city.

City.

These proceedings may be obtained from Mr. Arthur W. Richards, 33 Central Park West, New York

This curriculum was not developed all at once, but by single phases as: copy of ornament from print or cast; pictorial art, type solids, machine sketching, and abstract design have each been regarded as all-sufficient, and indeed are today so regarded by some schools. But the best schools approximate all the work above outlined, and not only give pupils the fundamental principles in practice of drawing and design, but more important still, train appreciation in the uplifting, or art side of industries. Walter Perry says, "it is more important to educate one hundred to appreciate art, than to educate one artist."

University recognition of creative instruction. The larger universities give one entrance credit in free-hand drawing, generally; one in mechanical drawing, frequently; and one in architectural drawing, rarely. The nearest approach to a standard in free-hand drawing is the requirement of the College Entrance Examination Board. Their 1906 examination required two drawings: the first, a drawing of geometrical blocks to be drawn in accurate perspective from a described position, but with no blocks present, and with either line or with shade and cast shadows; the second drawing had several options, from memory, either a tool or detail of machinery, or a detail of an architectural ornament, a natural history specimen, or a detail of the human figure; or from copy, the enlargement of a machine detail, or of a scroll ornament. This whole requirement is reasonable as far as it goes, and it goes farther year by year; but it regards drawing as subsidiary and technical rather than independent and creative and thus omits its unique value in education as a complementary of analytic and "fact" training.

Definition of art in life. Nearly every person, including the brick-layer, loves art and spends a great fraction of his energy in seeking to possess it. This statement may cause surprise, but it is true. A kitchen chair costs one dollar, the living-room chair from five to twenty-five dollars; a man's workingor camping-coat, from one to five dollars, and his best coat from ten to thirty dollars; a woman's sunbonnet or "tam o'shanter" fifty cents, and her best hat, perhaps, ten dollars, and so all thru. These are typical examples of the surplus cost which people pay, partially for comfort, but more for appearance. This surplus may be ennobling or degrading, but, 75 per cent. of expenditures for clothing, furniture, and building is universally paid for art, either good or poor.

Art needs an enlarged definition, it does not stand merely for pictures and statues, found chiefly in museums, which all should, but which few people do, understand, but, as Mr. John Cotton Dana has pointed out, it includes taste as applied to everyday surroundings: landscapes, the pictures in the daily papers; street bill boards; stationery and business catalogues; store windows clothing, buildings; decorations for festivals and fiestas, and in hotels, theaters, and churches. In these matters all people are concerned and pay the price of good art, but only the person of cultivated taste has ability to estimate real rather than spurious value, and so, ability to economize by striving only for those things which will give lasting satisfaction. A large part of spiritual sweetness

depends upon ability to buy or to make things in door yards, houses, and furniture which are artistically good and which will last instead of being discarded after a season's wear, because like “ragtime" they have lost their novelty. Greater expenditure for art in pictures or in the applied forms enumerated is not so much desired as that the art which is produced shall be much better, and rightly enjoyed.

Good art is sane and reasonable, not extravagant and pretentious. Never should one assume that it concerns only dilettante. Art is for the humble as well as for the rich; it shows the beauty of the Parthenon, but also of the simple garden trellis; it is not an addition to life but an essential expression of life; not an addition to good building, but an essential part of good building; it includes the whole conception of plan, structure, form, and color, and not any mere frippery of "stuck on" ornament; it concerns not merely the picture on the wall, but the texture and color of the wall itself. The simple direct building in the type of house called craftsman and bungalow shows excellent art, which has no ornament, but which requires the highest skill in its design.

Art means, broadly, that quality in the application of taste and sense to everyday things which makes them peculiarly fit to arouse the higher spiritual emotions. The adequacy of art for this expression is proved by the knowledge of past civilizations which we learn alone from their art.

Mr. James F. Hosic says,

The spirit of art is the spirit of art, whether it works with the greatest possible freedom in presenting a madonna or, within narrower limitations, constructing, and finishing a clock case. In both, the human mind is seeking to realize its ideals and present to other minds, for their enjoyment, its own dream of beauty.

If our craftsmen have not as fine spiritual perceptions, respect, and pleasure in their work as had the craftsmen of the Middle Ages, or as have the craftsmen of Japan, and if the customers of these crafts do not appreciate the spiritual qualities of craftsmanship, the schools are faulty, and are figuratively turning craftsmen over to the devil, for where shall one get good ideals if not in school? Education has no other function than to teach the essentials of happy living and nowhere is this responsibility greater than in the manual arts.

University entrance requirements in general.-It may be instructive to examine the general scheme of education as indicated by university entrance credits. An average list follows, the numerals indicating the number of credits allowed in each subject: