188 INTERNATIONAL CONGRESS OF EDUCATION. 
has come to be generally accepted. This recognition of the educational 
power of drawing has led to a demand for its exercise. Therefore, 
drawing now stands in the schools mainly on an educational basis, and is 
regarded by educators as a means of expression which deserves the highest 
rank. Its value industrially is more fully recognized than ever before, 
while its value educationally is considered as far transcending its industrial 
value. 
It is recognized that the body of the child deserves to be clothed and 
fed and housed ; but it is still farther recognized that the mind of the 
child deserves recognition, and must be nurtured and given opportunity 
for expression. 
Supervisors of drawing are leading in this movement, and are develop- 
ing the child through his own observations and thought to free expression, 
and are, moreover, endeavoring to gnide that freedom into well-recognized 
art methods. The hard, thin, black, wiry line, finished by the most 
painstaking effort to absolute uniformity of width and absolute want of 
expression, has given place to the broader, soft gray line—the true line of 
che pencil—varying in intensity, delicacy, strength, or emphasis, to meet 
she thought expressed, thus admitting the possibilities of the whole range 
of expression from light to dark. They are also leading more and more 
to the observation of the beautiful as the best means of elevating the 
expression of the children. 
Recognizing the great value of drawing in the whole educational field, 
[ shared in the presentation of an exhibit of work in form study, drawing, 
and color, in connection with other studies, made at the meeting of the 
National Educational Association at Topeka about seven years since. It 
was, I think, the first exhibit of this sort ever made. The work had then, 
as it has now, a great amount of crudity. The regular work in drawing 
was not considered as bearing upon the drawing in connection with other 
studies. The two were entirely divorced in the minds of the teachers, and 
one did not influence the other. This is a surprising result, but it finds 
its parallel in the fact that a student may be most carefully trained in the 
ws of perspective and the mechanical method of using them, and vet 
oe helpless in the presence of a single object whose appearance Lo the eye 
he is required to draw. A student who had passed one hundred per cent. 
in instrumental perspective in a well-known art school came to me in 
great distress one day. She wanted to draw the interior of a barn, and 
she was very much puzzled to know whether she should make the beams 
overhead converge toward the upper edge of the picture or otherwise. 
Such things seem hardly credible to those who understand not only instru- 
mental perspective, but also its connection with the appearance of objects. 
I well remember with what a contemptuous dissent a modest suggestion 
‘0 the principal of that school—that it would be better to lead the student 
'0 see the appearance of an object before studying the principles of per-