day scientists are defining man as an and whatever virtues this mode of have it at least emphasizes an important ture, one of more than passing signifiicator and the statesman. It is probas really appreciate to what extent one's ined by the varied suggestions ceasepon him from his social and his natural the evidence testamentary thereto lies

here. We see that for ourselves we ic the activities of those with whom we riend by my side laughs, I join in with chy, as the saying is: if I come into the ss, where there is weeping, I find myself in my own demeanor what I see and y have no reasonable, conscious motive us people mime the yawning, the facial nerisms in gesture, in walk, in speech company we keep. And when this proparticular model runs on day after day y that the imitator grows surely tho his pattern; he gradually puts aside to egree his own personal peculiarities and his companion. It is indeed true, then, hat company one keeps we can prophesy I confidence what he is. Eendency is especially characteristic of is by no means confined to them alone. are born imitators, as we say, they are -ing the goings-on of the home, the -The embryo horseman that sees his e repeats the action, making use of any mstick commonly-which will serve his I he does this he does a thousand other of his life that are inspired by the same ave the same teleology. So one is not the force of this mimic passion in the after day thruout the whole length of I period the child fashions himself up to e case may be, the models which are until in maturity he is a copy, more or accurate as to details, of those about rth-stone and in the broader environing Ve are apt to say then when considering offspring is like his forbears in his le must have inherited ancestral pree should be more truthful to fact if we nplishment of this similarity between o the credit of the principle of imita

nce of the Immediate Environment.

alone one's fellows who suggest actions ings, the inorganic objects in his envirarked influence upon his conduct thru of suggestion. It seems to be shown by cal experimentation that varied natural ns possess the power of affecting the an observer in characteristic ways. looking upon a beam out of plumb feels. m disturbed; he may not be conscious. y he is distressed, yet he is nevertheless act that there is a screw loose someexplanation is really simple: one tends so to speak, with this object; he tries with it, and he must subconsciously racting influence to preserve his own. o the average person in the midst of lance in this way will be rendered perole thereby. A "sensitive" individual, delicately to the suggestions derived

being thoroly understood yet, but it seems measurably certain that one kind of form increases the amplitude, so to speak, of respiration, while another decreases it; one quickens the action of the heart, another depresses it. So with color, and the influence of this phase of environment has been more satisfactorily demonstrated. Some colors overstimulate many people; they usually excite the nervous centers and urge the system into excessive action; while others depress vital function, appearing heavy, oppressive, unbearable. Still others keeping the median way produce pleasurable, healthful, upbuilding activity. Beauty and Ugliness.

As a result of the different effects upon vital functions of varied forms, it happens that we are pleased with some and we instinctively try to keep in contact with them; while others displease us and we as intuitively avoid them-try to keep ourselves away from them. Those forms and colors and attributes of things and people that heighten vital function we call beautiful; those exerting the opposite influence we denominate ugly. Thus beauty has not only a spiritual but it has a physiological value as well. If one looks at this from the evolutionary point of view it appears entirely reasonable, indeed inevitable, that nature would have implanted in human beings the passion to choose and to endeavor to make perpetual those stimulations from the environment that exalted life; while they would strive to rid themselves of those influences that were hostile to the highest, the most harmonious living. The motive forces which lead to the selection and rejection of things from this standpoint are the emotions arising in view of the aesthetic; and it can be seen how vitally important these are in human life, and how essential it is to take account of them in determining the matter and method of education. The World of Representation.

Thus far the environment has been regarded as tho it comprised simply the concrete realities surrounding the human being. But there is a world of representation, of suggestion, as well as a world of material verities; and the influence upon conduct of the one is not unlike that of the other. One will respond in much the same way to a face portrayed in a painting as to that face presented in life. And so with other aspects of the world; they may all be reproduced in pictorial art with greater or less faithfulness to the originals; and while in the copy they may lose somewhat of their force in fashioning character, yet they do not part with it wholly. It happens then that thru pictorial art we may in a sense create an environment a representative or substitute world, one which silently but none the less surely makes an indelible impress upon the demeanor of all who come into its presence. He who finds rest and solace in a beautiful landscape in nature will obtain a measure of the same peace from a Corot or a Ruysdael. If he be inspired by the features of a beautiful child in the flesh, one whose life is full of frankness and sweetness, he will not remain untouched when he gazes upon the Angel Heads. If he feels sympathy for the toilers in the field, the laborers of the world, when he is in their midst, he cannot but respond with the same emotional tone, in kind if not in intensity, to The Gleaners, The Angelus, or The Man

with the Hoe.

The principle is clear and definite; one cannot behold a face, for instance, without mimeing the expressions which are displayed thereupon. If there is a tension about the eyes, if the lips are compressed, if there is sternness and severity portrayed, the observer will find his own features adjusting themselves to this pattern;

and then the emotions which initiated those moton atti

of children of any given age. Show a child of five or six Von Bremen's Blind Man's Buff and note what an effect it has upon him. He immediately gets himself en rapport with the situation; he becomes a part of the scene; his face brightens, his voice strengthens, and his whole demeanor shows the completeness with which he has received and acted upon the suggestions presented to him, He rejoices with the happy, mourns with the sad, grows courageous with the brave, and fearful with the timid. He appropriates to himself the characteristics, the attitudes, the tendencies of those whom he encounters, alike in the concrete and in the representative world.

Educational Value of Pictorial Art.

In view of the foregoing, then, it must be evident that pictorial art is of vital importance in human life, and that it affords unsurpassed facilities with which to influence in a beneficial way the conduct of children during their educational career. It is assumed, of course, that art in order to attain the great end here indicated must be concerned with reproducing and making permanent those phases of the world that are most beautiful, that exert the happiest influence upon people. Art can thus be selective; it can choose what is best and surround the child with it. And this is a matter of supreme consequence, for while nature and man in their totality, so to speak, are doubtless worthy and inspiring, yet momentarily and locally they may be indifferent or even ugly. And nature no sooner reaches perfection of beauty in any of her forms than she returns rapidly again into decay and desolation, and the process goes endlessly on.

pain. But thru r salize the bea spread a view fore the eyes we can bring pure lives to s locality where garity. So, t she is at her 1 richness perpe when it attain: in form and co for us everlast in part, at any and extension truly best in t world which v abiding place f It is true, busied itself wh aspects of nat elevating ideal at least has not praise the world and, too, the ag est value to th enduring worth. know it in our r this term shoul probably not ar those works wh ages and have w values of genui and these can be

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'esentative art we may univeriful wherever found; we can the most lovely landscape beone living in a barren waste; ces expressive of noble, sweet, d their benign influence in a bound greed and vice and vul, we may surprise nature when st and make her beauty and al. We may catch the flower its consummation of loveliness or and make its attractiveness g. So art has for its mission te, the selection, conservation, the most æsthetic and so the e world, a process of making a 11 afford the most agreeable the human spirit.

f course, that in the past art has not olly with representing the most inspiring re or of life, or in portraying the most onceptions. The artist is not always, or always been the one who can best apand determine what is most meritorious; › in which he lives may not attach greatse goods of the spirit that are of most

So it happens that not all of art, as we idst, is truly good in the sense in which 1 be understood; but nevertheless, it is overstatement to say that in the main ich have survived the criticism of the on the admiration of all people represent ne merit in heightening the tide of life, of the greatest service in education. e Presentation of the Ideal.

not only selective and conservative of the n nature, but it also affords an opporcend the natural order of things and ceptions which may become models for young and the old as well. This does er, that the mere products of unguided value in the fashioning of character,eatures of the imagination spurred on by desire as have proceeded from some aran older day. But fortunately the age dragons and sea fairies and mermaids s passed, and the artist of to-day rears ons upon the realities of the world as by faithful research and systematic ins what nature is, and he discerns from quaintance what she is striving toward, ipates nature, as it were. And in this different essentialiy from the scientist tically the constitution of nature in its ophesies what it is destined to become. nature is in a process of evolution, passso higher things; and he can in a way ute. So can the artist. He can see the h humanity is striving; he can portray or less skill, and (what is really the vital ation) his creation becomes a positive h in character.

e under the influence of an ideal conard it, assimilate themselves with it, bene cannot dwell in the presence of a ocence without stretching his own perher as a model; no more than one can n a noble man or read of an exemplary

Logan School, Murphysboro, Ill.

ever or wherever presented, get themselves reproduced in the demeanor, the character of those whom they impinge upon, so to speak.

Development in Art Apperception.

A word should here be said regarding the kinds and qualities of representative art which will exercise a wholesome influence at different periods in the development of a child. The determining principle is illustrated in the fact that the Angelus leaves a child of five or six cold and indifferent, while it elicits warm response in the feelings and actions of the mature man or woman whose experiences give this scene an import, a vital significance; which means simply that one can adapt himself, can imitate only that which is within his sphere of activity, as it were; that which presents a situation that awakens emotions which have already been experienced. A child of four cannot emulate the complex ethical conduct of his father or mother; nor can he be influenced materially by ethical or religious emotion when represented in art. Nature has not developed within him the mechanisms which make it possible to assimilate himself to these phases of conduct, of adjustment to the world. In the course of time, as his mental life unfolds, he will grow in power to appreciate and to correlate himself with these highest modes of conduct; but in his younger days he must have presented for imitation the most worthy and inspiring in that realm of life to which he is capable of adapting himself. In the earliest years he is interested mainly in that form of the æsthetic that is denoted in his language by the word "cunning." Everything "cute" at once awakens lively response in his demeanor; and this is so, I think, because what is cunning has a play element in it, and the child life is a play life.

What we should strive to do thru art, then, for the very young is to portray the most wholesome, the most exalting play life and make it impinge upon the child, so that he will unconsciously model his activities upon the suggestions he receives from it. And as he progresses in his ascent toward maturity, more and more social and ethical qualities of conduct may be suggested to him thru his art environment and so become to him a constant and effective stimulus toward growth in the right direction. In this way by a selection and arrangement, in conformity with the requirements of the developmental process of the phases of the world to which we wish the child adapted, we can, to some degree at any rate, gradually draw him, and constrain him as it were, toward any ideal which we may choose.

The photographs of Miss Smith's class-room in the Logan school, of

f planting, cultivating, and keeping the in order falls upon the boys of the gramThursday afternoons from one till two ime when the work is done.

is well supplied with tools, thanks to an agent, and certain boys are assigned to and plants. Others with mattocks and by the roots, lantana and guava plants rung up during the week. Others with and grass knives cut the grass which is hrown out by other boys.

detailed to clean up the experimental garepairs loose fence battens, while still ankes around the young trees to protect

horses.

ar ago the Youth's Companion presented h an American flag in encouragement of done in the school-yard. A flag-pole was y and this was presented to the school by esident of the district. The staff was a

of Hawaiians, Kaupakulua School.

calyptus tree, about forty-five feet long. I to the school and set in place entirely by

flag-pole fell down having rotted off just A ten-foot stick of seasoned pua was then school. This was set in the ground, and clamped to it with two iron collars. alua school is at an elevation of about ne slopes of the mountain of Haleakala ), at whose summit is the largest extinct world, being three miles wide, eight miles

Kaupakulua School, taken in 1900.

The walls in places are 2,000 feet high. So vast, is the crater that the whole city of New York could be put into it. The region about the school is a farming one, and most of the inhabitants are Portuguese. There are some Hawaiians, however, but they are few.

In spite of the fact that there is not one child of American birth in the school they are very patriotic, their favorite songs being, "America," " Star Spangled Banner," of which they sing all four verses, and "Cheer, Cheer we the Flag ever True."

There are reports that Governor Odell in his coming message to the legislature will recommend the passage of a law which will permit children to get an education in any high school in the state of New York. At present the parents of children not living in a high school district are compelled to pay a tuition fee.

The following questions were sent to a teacher of Hoboken, N. J., to be answered by her pupils: "Two thieves broke into a house and stole $500 and were caught in the act. What penalty would you inflict? If you were not yourself, what noted personage would you like to be and why?" She received many amusing answers. In the replies given to the former question, she found no leniency shown to the offenders-hanging, imprisonment for life, and electrocution figuring largely. To the latter question, Devery, Croker, Odell, Coler, Roosevelt, etc., were mentioned showing that children do know something of present politics, while Washington, Lincoln, and Grant were favorites. Several wished to be God because then they could do everything, and some wanted to be Jesus Christ. But quite the funniest was the answer of a little girl who wanted to be "Adam and Eve" because someone had read a story about her which she liked.

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