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These two lines of work we may call, for convenience, (1) illustrative 
sketching and (R) pictorial drawing. 
In the past we have neglected illustrative sketching, but we are now 
beginning to realize its meaning and its value. In every crude line and 
misshapen form of these first sketches of little children we find thought 
and feeling—spirit forcibly expressed. Shall such work be suppressed 
because it is inaccurate and, crude ? It has been suppressed, but we are 
slowly learning to see that the individuality which so manifests itself is a 
precious. gift of God. Such expression must be fostered. The children 
should be encouraged to illustrate lessons in language and number, read- 
ing and nature study, geography and history. They should have sketch- 
books and use them constantly, the one aim being expression of life and 
motion, of thought and feeling. There is certainly no place here for 
copies ; the technique at this stage is not of the slightest consequence. 
But suppose this illustrative sketching to be continued. There will 
come a time when the spirit will demand a more complete expression. 
I'he diagrammatic sketches will no longer satisfy ; straightness must be 
expressed by a straight line, roundness by a circle; boxes must look 
nollow, and houses must appear substantial ; we must be able to see down 
nto a flower-cup and up under an umbrella ; a horse must look like a 
horse, and a man like a man. The power now demanded, that of truth- 
tully representing such objects to embody ideas, is acquired only through 
long-continued practice under guidance. Alongside the illustrative sketch- 
ing, then, should be a definite, logical, well-graded course in pictorial 
drawing, whose end shall be truthful expression of form. 
Now forms may be expressed in different degrees of completeness: in 
outline, in light and shade, and in color. But while color perfects the 
picture, in representation as such, it is of least importance. Its self tone 
seldom appears to the eye ; it changes in value with every change of light ; 
it appears different from different points of view and from different dis- 
tances. Light and shade are of more importance ; they reveal solid form, 
and express character of surface ; their effects are more constant. Given a 
light on the object, and its shadow may be determined scientifically. But 
outline 1s of chief importance ; it is an essential and permanent element 
in every object, fixing its form and character ; it is fundamental, condi- 
tioning all other effects. For this reason the wise Frenchmen say : “If a 
person can learn to draw in three years, he can learn to paint in three 
months.” Because of the value of linear drawing to express the under- 
lying truths of form, we find to-day a score of sketches and drawings, 
studies by the old masters, to one of their finished paintings. 
It now becomes evident that outline drawing should take precedence in 
the lower grades of schools, and that its end should be expression of ¢ruth. 
No glow of color, no effective chiaroscuro, can hide bad drawing. When 
pupils have been taught to tell the exact truth in outline, then and not