DOES ART STUDY CONCERN THE PUBLIC SCHOOLS? 489 
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spective theoretically—was received. But things have changed since then, 
and pupils in the public schools now learn to see for themselves how 
objects appear in different positions, long before thev know anvthing of 
:he laws of perspective. 
In our work of drawing we have passed through the industrial stage. 
ie believe in the value of art as conducive to industry ; we recognize 
she money value of beauty, and that it pays in dollars and cents to be able 
to create a thing of beauty which shall be a joy forever. But we no longer 
look at this as the supreme end of our work. 
We recognize most earnestly the value of drawing as a means of mental 
development, and we endeavor to promote its use in every possible way, 
at the same time surrounding the pupil with those influences from great 
works of art which will lead to the cultivation of artistic taste. 
But we should have a still higher and broader end in view. We should 
stand for art. We should stand not for drawing as primal (for drawing 
is simply a means of expressing thought), but we should stand for obser- 
vation of the beautiful, for thought induced by the beautiful, which shall 
ead to the expression of the beautiful according to the best known modes 
of expression. 
Industrial drawing ministers to the outward needs, educational drawing 
ministers to mental development, while art education adds to these the 
esthetic element (which is in its highest sense ethical), and ministers to 
she spirit, permeating and uplifting all life. 
Art is the highest expression of the highest thought, and works of art 
are the outcome of that aspiration toward the best, and that creative 
‘mpulse which longs to make the aspiration manifest, which belong to 
every human soul. Art education should, then, make distinct recognition 
of the art possibilities that lie not only in the artist but in every little 
child. Each little one that comes under our care longs for the beautiful 
and desires to express it. How can we show to him the beautiful, and 
aow can we help him to express it ? This is our great problem. 
First, I would say, direct his observation toward beautiful things. 
[old fast to the appeal of psychology, to give the child things which will 
‘nterest him, but be careful to select from the things which interest him 
shose which are of the highest nature. Selection—choosing the good—is 
ne of the constants of development, whether in organism, in art, or in 
life, and the child himself will not only respond to but will promote this 
selection. 
The following thesis indicates a proper course to be pursued with the 
pupil : 
Thesis : The pupil should copy or make a drawing of the work of art which he has 
earned to analyze, and his exercise should be criticised by fellow-pupils and teacher, 
making clear the respects wherein he has failed to seize the motive of the artist, or to 
seproduce his (the artist’s) device of representation.