£90 INTERNATIONAL CONGRESS OF EDUCATION. 
At the same time that we lead the pupil to a selection of the type by an 
appeal to his own love of the beautiful, we will help him all that we can 
in modes of expression. We will not leave him to blunder and stumble, 
neither will we put him in harness and drive him forward, but we will lead 
him by pleasant guidance to such better things as we may know, and we 
will not be content to give him our limited individual knowledge, but we 
will place before him, as far as is in our power, the best that the world 
has done in art. 
In looking through the field of graphic art we find that thought has 
tound expression in three different directions, that there are in graphic 
art three different subjects which are to be made the basis of these lines of 
instruction—the subject of construction, which has as its highest phase 
she training of the imagination ; the subject of representation, which has 
a8 its highest phase expression by pictorial art ; and the subject of decora- 
Lion, which has as its highest phase the expression of beauty in ornament. 
In all these subjects we have again to remember that drawing is merely a 
means of expression ; that back of the drawing must lie the study of and 
instruction in the subjects themselves; but also that, having given the 
‘hought, we must help the pupils to the best method of expression. 
In the subject of construction the mode of expression is purely mechani- 
cal and is unvarying ; in flat decoration this is largely the case. In rep- 
resentation, however, this mode of expression varies, and there is large 
scope for individuality. The pupil may here stumble and blunder along 
antil his eagerness and strength are exhausted, or the wise teacher may 
guide him to. a better mode of expression. One of the ways of guidance 
would be for the teacher to tell the student that by emphasis here and by 
cestraint there, corresponding to the qualities and relations of things rep- 
resented, a better effect could be produced. Another way would be for 
the teacher to show by a few touches here and there—that is, by an exam- 
ple of her own work ; this is a living demonstration that in many times 
$8 of great help. These two ways are of only limited use in the large 
classes of public schools. 
Another way is to give to pupils good examples of rendering, that they 
may see how others have translated thought into expression by the pen, 
pencil, or brush. This is admirable because it brings the pupil into the 
presence of what others who have attained the control of their materials 
have done. 
Still another way is to give pupils to copy good examples of rendering, 
that they may be carried still farther into the thought as well into the means 
of expression. 
It must be remembered that the purpose of drawing from an object is 
essentially different from that of drawing from a copy, and that they do 
not at all subserve the same end. The purpose of drawing from an object 
is that the pupil may express his own thought concerning the object.