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Drawing from an object should not, therefore, be made a purely external 
and mechanical thing of seeing from a proportion, but should be made a 
means of leading first to thought about the object, and then expression. 
The purpose cf drawing from a copy is that the pupil may learn the 
thought of a more cultivated mind aud spirit concerning the object, and 
afterward the way by which he expressed it. Drawing from a copy, there- 
fore, like drawing from an object, should not be a purely external and 
mechanical thing of seeing form and proportion, but should be made a 
means of broadening the horizon of the pupil and leading him onward and 
upward by contact with a broader and higher mind. All this will apply 
to pictorial composition as well as to rendering. 
We cannot afford to lose any of these ways of guiding the pupil ; we 
must hold to those which will cultivate his powers by leading him to know 
what others, with greater powers than he, have done, as well as by leading 
him to express his own thought in his own way. We cannot rightfully 
deny him the culture to be obtained through the endeavor to learn the 
thought of others. 
Sir Joshua Reynolds was of the opinion that copying the work of a mas- 
ser in no way limited the original power of expression of a student, but 
-ather led him to more individual expression and doing. In historic orna- 
ment the same will hold good as in the subject of representation, with 
shis difference, that in historic ornament we are endeavoring to enter into 
she spirit of a nation rather than that of an individual. In every curve 
shere is expressed the life of the nation and the striving after beanty—the 
ceaching up and out to the sesthetic. So here more than ever is needed 
shat realization of curvature and proportion which can be attained only 
:hrough the endeavor to approach by drawing near to the thought and 
character of the nation. In pictorial art we deal with the individual ; in 
nistoric ornament we approach the universal, and attain, at some degree, 
50 types. 
Just one word in conclusion : Art is not mere drawing; art includes 
and implies the thoughts back of the drawing. 
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WITII WHAT SHOULD DRAWING BEGIN? 
BY MISS JOSEPHINE C. LOCKE, CHICAGO, ILL. 
§ 
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‘Should drawing begin with light and shade, or should it be outline drawing for the 
first vear or more ?”’ 
I smALL present both sides. Outline drawing is a necessity for the sake of recording 
he facts and exact data of form, of geography, of history, and of science ; it deals with 
the definite limitation of surface, and is essential to the expression of all construction. 
I'here is no other medium so useful for interpreting the details of parts and their rela-