+60 INTERNATIONAL CONGRESS OF EDUCATION. 
till then is it time to think about teaching how te represent truths of 
tight and shade and of color. 
A progressive course in pictorial drawing whose end is truthful expres- 
sion must, of necessity, commence with simple truths and pass to the 
more complex. The order will be: (1) Truth of movement (one dimen- 
sion) ; (2) truth of figure (two dimensions) ; (8) truth of solid form (three 
dimensions). Here technique is of some importance. for it may interfere 
with the expression of truth. - 
Illustrative sketching and pictorial drawing will react upon each other ; 
‘he expression will gradually improve in the one, and the spirit will gradu- 
ally permeate the correct forms of the other. To some of us this seems 
like too laborious and slow a process to secure the desired result, but so 
far as experience goes it is the only sure process ; the result comes through 
vital growth. “That is not first which is spiritual, bat that which is 
aatural, and afterward that which is spiritual.” 
I have said that technique is largely the result of individual peculiarities 
and habits. This is true of bad technique when interpreted one way, and 
of good technique when interpreted another. In bad technique the indi- 
vidual peculiarities are almost always borrowed from anofher, and the 
habits are ¢ tricks of the trade.” In good technique the individual pecu- 
liarities are original and give charm to the work, and the habits are 
modes of thought. True technique has, then, a vital organic element. 
Can that be imitated, or obtained by copying ? 
Because French pupils draw with charcoal and so make broad gray 
lines, some have insisted on whittling away only the wood of a pencil, and 
shen flattening one side of the lead to make a mark an eighth of an inch 
broad when “properly ” held. Having thus produced a characterless and 
wholly artificial line, they have proceeded to apply it alike to the represen- 
sation of machine details and flower petals, potatoes and snow-flakes. 
Could anything be more deadly? Such technique is false ; it sobs the 
drawing of truth, and annihilates individuality in the artist. The line 
should express character. Every object under heaven is not “all wool 
and a yard wide.” 
But suppose we agree that difference in character shall mean difference 
Inline. Will copying another’s drawing lead to an appreciation of such 
differences ? How can it? Will copying external form give internal 
spirit 7 Any artist knows that it will nof. He cannot make an accu- 
rate copy of one of his own sketches which shall have the fresh spirit of 
she original. The letter killeth—* it is the spirit that quickeneth ; the 
flesh profiteth nothing.” In the work of pupils who have been bound 
to a drawing book, and in the productions of those who have learned 
“ painting, in twelve lessons, for ten dollars,” how often have we seen sick- 
ening proof of this! No embodiment of thought, no feeling, no spirit ; 
only servile copying of external form.