has left its impress upon the lives of a multitude; the majestic lines of Schiller and Goethe, of Emerson and Shakspere, the music of Wagner and Beethoven, and the sentences of Chatham and Webster, are as fresh and inspiring today as they were in the time of our fathers. And in the effects upon our lives of this contact and this experience, the least is by no means utilitarian in character.

Since, however, art has begun to assume a broader aspect than that symbolized by the brush and chisel only, art education in the schools has developed and widened. William Morris says,

Men fight to lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out to be not what they meant, and other men have to fight for what they meant under another name.

From the time of William Morris and John Ruskin, the beauty of utility has been more and more emphasized, and today the term art may be applied to work in silver or gold, iron or copper, to wood, glass, leather, or paper. A book or mantelpiece, a city street or a shop window may as clearly embody the art spirit as a painting or a statue. Looked at from this view-point it is easy to see how art education may be a part of school life and how it may have a distinctly utilitarian trend.

Art may be appreciated from the negative as well as from the positive side. What has not been attempted frequently counts far more than what has been done. I mean that much so-called art is overdone and its everyday effect is lost. Here again an analogy exists between language and art. Just as in the former we may find our expression heavy or extravagant and our sentences carrying us beyond the point at which we should give pause, so in art we are aware of this tendency toward the extreme.

An illustration is in point: In many of the schools of Germany where articles of furniture or articles in wood are made, it is the custom to overlay a given piece of construction with elaborate chip carving. This destroys the character of the wood, the effect of the grain, covers from sight any imperfections in workmanship, and consumes much valuable time. This same method is seen to exist in certain types of German commercial life, where the chairs, table tops, trays, picture frames, newell posts are all carved. Some of these articles are less useful after being decorated than they would otherwise be. The moral effect upon the individual is bad, and utility is disregarded. In art, simplicity goes hand in hand with utility.

It may safely be said, therefore, that use is a determining factor in art, and that construction and decoration are the two fundamentals.

I have spoken of the moral effect as being different and apart from the utilitarian. But this is impossible. Let me illustrate. I once taught a group of boys in Henry Street. Those of you who live in New York City and have undertaken to learn at first hand how the other half live, need not be told the location of Henry Street. The filth and poverty and disappointment of the East Side, are resident in this locality; the pathetic and downcast mingle

here with the gay and the boisterous; confidence and suspicion watch from opposite street corners. But with scant means, meager homes, and an unhappy environment there is a growing appreciation of the beautiful and an increased understanding of how to construct useful and beautiful things. I learned one of the silent causes of this appreciation when, on climbing to the attic of a Henry Street building, I entered a small room occupied by two of the young men who were working with the boys of the district. On the walls were prints of the masters, simply framed; book shelves cheaply and serviceably made, and some home-bound magazines and books; pieces of furniture made by the young men, and, scattered here and there, small articles of use, so simply and honestly constructed as to be within the ability and reach of all. This delightful place the boys used to visit and from it radiated such an atmosphere of real art, that they carried with them a feeling for the useful and beautiful and the moral as well.

A decidedly wrong impression is prevalent with many educated and wellinformed people—an impression that a knowledge of art, unless one is to become an artist, possesses a sentimental value only. To most people art education implies lessons in drawing, perspective, light and shade, life, cast, and perhaps a touch of water color and a bit of clay. Indeed, most of our school people take this view and what is still more to be deplored, the major portion of the art teachers themselves, teachers of drawing, so called, subscribe to this doctrine. In point of fact only a small portion of the legitimate art education of the schools should be classed as drawing or graphic expression. Applied art, constructive design in any material, metal craft, jewelry, enameling, pottery, bookbinding, leather, textiles, may properly be classed as art education, and the student who has a real understanding and appreciation of perspective, pure and applied design, and the principles of construction will find he can use this knowledge to advantage in a thousand ways.

There is scarcely a profession, trade, or occupation in life where the value of the rapid sketch is not daily seen; the binding of pamphlets, magazines, and books proves a great convenience to many; a knowledge of weaving and textile work, if learned in their elements, will be of great value in later life; decorated and tooled leather may be put to a variety of uses. In wood, many articles of furniture can be made, and there is practically no limit to the extent that metal-work may be carried-lampstands and shades, screens, bowls, vases, buckles, pins, and the like, while wood and metal or wood and leather, in combinations, are adapted to many useful ends. And what is even more significant is the development which is the outgrowth of this experiencea development finding expression in the everyday life of the individual.

It will be understood that in speaking in this connection of the applied or industrial arts and of the crafts, the writer has not in mind the flimsy, piecedtogether work of the popular handicraft club or the society organization, but rather the substantial serious undertakings, considered from the standpoint of good design and true construction. Broadly speaking, that which appeals to

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