departments, but his work is not fully done when he leaves their direction to other hands. He may neither be an artist nor have the skill of the artisan, but he should know children and what phases of child development are to be touched by each subject. He is in better position than any specialist can possibly be to see the needs in the course of instruction and the means to be employed in supplying these needs. It is his function to bring into harmonious relation all the forces employed in the system of schools that he directs.

HOMER H. KINGSLEY, superintendent of schools, Evanston, Ill.-There is one fundamental principle governing this relation of art to manual training which I believe we must all recognize, viz., that the cultivation of the eye and of the hand cannot be divorced. The hand cannot be taught to execute unless it has an eye to govern it, and conversely the eye cannot apprehend a problem unless it has a knowledge of the conditions of the problem, such knowledge having been gained by means of the use of the hand. In other words, a teacher of manual training should have his pupils work from designs which they themselves have made under the instruction of an artistic designer. An art teacher cannot give instruction to such a student unless he is familiar with the materials with which the manual-training teacher has to deal. The great difficulty in correlating these branches is the too frequent lack of training of the designer. I have frequently seen attractive designs on paper intended to be worked out in wrought iron, but so designed that no artisan could execute them; designs for wood which ought to be worked out in iron; and terra cotta designs where stone was the only legitimate material to use. Mere charm of outline or beauty of form expressed on paper are of no practical value nor of any artistic merit unless it is known whether the article is to take a tangible form in wood, or iron, or clay, or glass, or stone, or leather. The actual manipulation of these materials on the part of the designer is the only thing which will give familiarity with the possibilities and nature of materials, and consequently enable him to prepare for the manual-training department those designs which can be executed in the proper media there. It seems to me entirely feasible that the scientific-construction man should supervise the designs of the art department, and that the art department should familiarize itself with the possibilities and actualities of the shop. There need not be any friction between the two, but each ought in effectiveness greatly to multiply the other.

I believe we should raise the standard of all our artistic and manual-training work by observing rigidly a few well-established principles, well established as principles, but unfortunately not well established in practice, or in general recognition in our publicschool work, and I speak particularly of this because I have seen such lack of its application in many exhibitions of sloyd and manual-training work.

First, the form of an article must be in keeping with its function. A pitcher from which you cannot pour water without submerging yourself, the table, or the floor is not of good design, however beautiful it may be in form; a cup with so small a base that a breath of wind will blow it over is not of good design, however beautiful it may be in proportion; a chair in which you cannot sit with comfort is not of good design, however expensive the carving or rare the wood; a spoon is not of good design unless you can eat from it with convenience, however richly it may be engraved or ornamented. The fundamental object of the pitcher is to pour water, of the chair is to furnish you a comfortable seat, of the cup is to hold tea or coffee, and of the spoon is to enable you to convey food to your mouth in safety and leave it there with grace; and whenever any one of these principles is violated the design is poor.

Second, the material used must be consistent with the object made; in other words, honesty of material is a second fundamental feature of good design. A galvanized iron cornice sanded to represent granite is a fraud; a column covered over with paper to represent onyx is a fraud; a chair with a design stamped upon it with a hydraulic press to represent carving is a fraud; a gas log in a library with cast-iron holes in it and cast-iron insects crawling over it is a fraud; a cylinder of white glass at the tip of a gas

fixture to represent a candle is a fraud; and I might multiply these illustrations indefinitely. You have only to go into the average home to find plenty of them.

Third, in addition to the two features which I have already mentioned - viz., form adapted to function, and honesty and consistency of material -a third element of beauty and grace must be added to make the thing complete. These three features require the skill of both the artist and the artisan. In other words, it is not enough to have the services of the engineer, but we must have the services of the poet as well; but a poet cannot be a poet in this line of work till he has been first an engineer, or, as someone has tersely put it, “The whole problem of good design is to solve the problem of utility in terms of beauty."

Again, I wish to emphasize the fact that it is the constructive nature of the child which we wish especially to cultivate. When we reflect that practically all of the progress of the world has been based upon the work of the constructive imagination of men, we see the necessity of cultivating that power of the child in our school work, and making the child produce the design which he is to interpret in the shop. Let the child produce the design, let it be refined by the suggestion and constructive criticism of the art teacher, and let it find its complete and tangible expression in the shop under the direction of the manual-training teacher, and always with this thought in mind: To develop character, not alone character as expressed in honest construction, which is the usual educational plea for manual training, but character as expressed in recognizing the value of all materials and their inherent fitness for certain purposes; that is, original, honest uses, and not imitations. Real character manifests itself not only in the honesty which comes from doing a thing well, but more especially from doing honest things.

DEPARTMENT OF ART EDUCATION

SECRETARY'S MINUTES

FIRST SESSION, WEDNESDAY, JULY 9, 1902

The Department of Art Education met at 2: 30 P. M. in the chapel of the state university.

In the absence of all of the officers, Miss Bonnie E. Snow, of Minneapolis, the chairman of the local committee, took the chair. Miss Janet M. Stevens, of Faribault, Minn., was appointed secretary pro tem.

The program was opened with a selection on Musical Glasses by Odin Wold and Claudia Wold.

Miss Snow made brief introductory remarks, and then named the Committee on Nominations as follows:

Miss M. E. Roberts, Minneapolis, Minn.

Miss Annetta Wales, Milwaukee, Wis.

Miss A. May Pierce, Boston, Mass.

The first speaker, James L. Hughes, inspector of schools, Toronto, Can., was then introduced and read a paper on "Art as an Educational Factor."

An interesting and somewhat spirited discussion followed, participated in by several members.

The Lorelei Ladies' Trio then sang "Ave Maria.”

The next paper," Elementary Preparation in Drawing for Secondary Schools --What May Reasonably be Expected," was presented by Clarence Valentine Kirby, teacher of art, High School, Denver, Colo. Mr. Kirby illustrated his paper with blackboard sketches.

A brief discussion followed.

This closed the program, as both Miss Lucy Silke, of Chicago, who was to have read a paper on "Sense Training and Art Education," and Mr. Frank C. Bray, of Cleveland, O., whose subject was "Specifics for Ugliness," were absent.

The business was then taken up and reports of committees called for.

Dr. Langdon S. Thompson, of Jersey City, presented the report of the Committee of Ten appointed at Washington in 1898. The report was adopted and ordered published in the Proceedings.

The Committee on Nominations then submitted the following report:

For President - Miss Clara A. Wilson, Davenport, Ia.

For Vice-President― Miss Charlotte W. Stoddard, Rochester, N. Y.

For Secretary-Mr. William Vogel, Cincinnati, O.

The report was unamimously adopted, and the nominees declared elected as officers for the ensuing year.

The department was then adjourned to meet on Thursday afternoon in joint session with the Department of Manual Training.

JANET M. STEVENS,

Secretary pro tem.

JAMES L. HUGHES, INSPECTOR OF SCHOOLS, TORONTO, CAN.

Even those who still see no reason for teaching any subject except its economic value are beginning to understand that art is one of the most important of all subjects on the school program. Men are learning very clearly that artistic training in childhood means artistic manufactures in adulthood, when the productive period of life is reached.

The wealthiest nations are those which export manufactured articles, not raw materials. The value of the manufactured article consists chiefly in the character of the transformation made in the raw material by the designer and the workman. The more artistic the designer and the workman can become, the more perfectly they can transform the raw material, the more completely they can unify beauty and utility—the more they increase the value of the manufactured article. The value of the article depends much more on its beauty than its utility. "Art transforms clay beds into gold mines." Dr. Harris has well said: "The great problem in the industry of nations has come to be the æsthetic one, how to give attractive and tasteful forms to productions so as to gain and hold the markets of the world."

Art is, therefore, revealing itself as the most practical of all subjects; as the subject that has most direct influence on the productiveness of individual men and women, on national wealth, and on the elevation of the home in its material conditions.

But the strongest reason for the universal introduction of real art teaching into schools is its educational, not its economic, value. Art is an educational factor, because it gives the child a new power of expres

sion. Individual power develops only by self-expression. Art is the highest form of self-expression. Every time a child is trained to use a new means of expressing its selfhood, a new phase of selfhood is developed, and every other already developing power is increased, both in force and range of application. The varied powers of each individual form an interrelated unity, and each undeveloped power prevents the perfect growth of all other elements of the unity. It is even more grandly true that the development of each new power strengthens and extends the sphere of all interrelated powers. It is, therefore, of the highest importance that educational institutions should afford the best means for stimulating all developments of human power in each individual, in order that he may attain his widest and most complete growth. and be most perfectly qualified to understand his relationship and per

form his duties to the universal brotherhood. As art appeals to a wide and high range of intellectual and æsthetic powers, it is an essential department of true education.

One of the established principles of education is that each child has a special department of power which is his interest center. This interest center may change at different periods of the child's development, but the essential psychological fact remains the same, that there is always some interest center in each child, which, if aroused and allowed to become the leading element in his executive work, will kindle his whole intellectual and moral nature and stimulate his most energetic efforts in self-expression. No external agency can rouse to the most productive interest. The interest that kindles and defines and accomplishes, that awakes and achieves, must act spontaneously from within the child himself, and it must have appropriate material and opportunity for its stimulation and its activity. With a narrow curriculum many children were never kindled, and they passed thru life "deaf and dumb and blind to a million things;" indifferent, negative beings, instead of energetic and positive, as they should have been.

Interest aroused in the central department of power so fully as to lead to original expression becomes the supreme agency in producing definite and energetic action of the whole being, and therefore one of the chief aims in education should be to find the interest center of each child and provide opportunities for its executive activity.

There are many children whose central life power cannot be fully kindled by mathematics, or science, or history, or literature, or music, who may be aroused to harmonious activity by art. If these children are not allowed to illumine their lives by art study and art expression, the result is restricted and barren lives. One of the most pathetic things in the world is a barren life. No life should be barren. No life can be fully productive unless it yields its best fruit in fullest measure. No life can yield its richest fruitage unless its powers of self-expression have been trained to self-activity. No individual power of self-expression can be trained to its supreme limit of productive activity unless all co-ordinate powers of self-expression have been trained, and especially the central. element of highest selfhood.

Art should be a high form of self-expression for every child, and it may be the highest form of self-expression for many children; therefore, all lives must be relatively barren, and some lives pitifully barren, without art training. Every child should have the right of added joy and power and growth that may come to it thru art, but especially those for whom art alone has strongest kindling power.

Mr. Morris says, "Art is for the few." the limited thought of an artist, not the

This is a narrow view. It is broad thought of an artistic

educator. All partial training is defective. Education without artistic