STUDYING WORKS FROM THE GREAT MASTERS. 473 
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The fundamental principles of form and color which we would inculcate into the child 
2xist in art. Art transcends science. In the history of art we naturally recognize the 
history of art education by its absence as such. Art progresses in guilds. with, at first, 
, few high-priests and court artists. Art is the vocation of the freeman. Types enslave. 
Raphael was the victim thereof ; De Vinci the spirit thereof. Everyone may be a painter 
or a sculptor, but no one can be an artist except he have the spirit. Géréme could never 
vive us a rule by which to reproduce a condition. We see the long, strong lines in col- 
imns designed to support great weight. The caryatids seem strength itself. Cut them 
oy flowing drapery, and the spirit is changed and weakness enters in. 
“(Professor Schreiber illustrated by drawing some of the figures and columns used in 
she Exposition buildings.) The Diana on the Agricultural Building has spirit, the spirit 
of moving on. Better, in drawing it, get a few lines that indicate the spirit than a line- 
yv-line copy which omits the spirit. 
Mg. Stimson said, in regard to a matter brought up by Mr. Fenollosa’s remarks, that 
+t is impossible to turn the wheels of time back so that we can place ourselves amid the 
sossibilities of long ago. Our art is going on even if it is not recognized as art. Hxperi- 
nents had been made to ascertain whether pupils could recognize the effect of drapery 
wutting long lines, placing figures in the background. The results show that they 
letect weakness and distance from such concrete examples. In this line the use of the 
llusirations in the good magazines is valuable. Many of them are reproductions of 
-he best works of old. 
HOW PUPILS SHOULD STUDY AND ANALYZE WORKS 
FROM THE GREAT MASTERS. 
BY DR. ALFRED EMERSON, ASSOCIATE PROFESSOR OF CLASSICAL 
ARCHAEOLOGY. CORNELL UNIVERSITY. ITHACA. N. Y. 
Thesis : ‘The pupil should study and analyze a series of works from the great 
masters, describing in language in the form of essays the general theme and the methods 
wdopted of making the work of art tell its own story, the technical difficulties and suc- 
sessful devices of the artist in completing his work of art.” 
Tur speaker began by describing his attitude toward the given thesis as one of quali- 
jed assent. However lofty a view we may take of the heart and the soul, it is absurd to 
ay upon these deeper centers of life burdens which the muscles and the senses are able 
and willing to bear. Hence, in view of the increasing complexity of modern life and 
education, the great importance of training what the short-sighted philosophy of the 
eighteentii century termed the lower faculties of mind and body. We daily see that 
che sense of hearing and the muscular skill of touch carry the mechanical burden of 
complicated musical performances, while the unloaded mind gives itself entire to the 
higher problems of musical expression. Let a boy be accustomed, say, to bisect angles 
oy eye, or to judge the trueness of straight and curved lines by thumb, and his geometry 
#ill not give him brain fever. 
The Prussian military system, so little understood in this country, is a splendid anti- 
lote to the over-speculative habit of the German mind and the relatively sedentary pro- 
olivity of the young German body. Our newspapers have recently found out that for 
arresting attention and conveying accurate notions of material objects a single illustra- 
tion outweighs a ton of descriptive letter-press. The student of Greek who will memor- 
ize a hundred lines of Homer, the student of Latin who can remember and recite aloud 
ten odes of Horace, may safely reserve his study of classic metres until he reaches 
Sophocles and Terence. The recommendation that the student of art learn drawing, 
painting, and sculpture directly from nature or by imitation of good models is along 
this line of faith. Nevertheless, just as there are processes of thought and states of