The record-union., 1897-11-24

what they know to the children, ana
therefore do not succeed we'll and oth-
ers who have not the training, but nave
a partial knowledge of the subject ana
the faculty of imparting that knoWl-
edge, attain excellent success. flne
pictures are an aid in forming taste,
as the child sees how the same thlhS
appears to other persons. NO TWO per
sons in the same room VIII see Inc
chandelier in exactly the same way
as their point of vision is dlHefenI oiie
will look at an object and ma IL IorS-
shortened. Then the farther things are
from us, the smaller they appear ana
the heads of people in the back part Oh
the room should not be drawn to appear
as large as those in front, IN ofaWiuS
an audience This is one OF the prih-
ciples of perspective.
She showed them a simple method OF
measuring things in proportion TO oo-
iects around them. Size is very I'M
portant element A thing may De III
front of another many times as large,
and vet may almost obscure the latter.
We look through a window and see
a number of houses, each many times
larger than the window. Mathematics
is continually used in drawing. In
teaching a country school to draw she
would commence by teaching them TO
draw what they see as they see 1t. Let
them draw, not only the windows, but
the things they see through the Win
dow. An excellent preparation is to
have them first tell on paper what they
see out of the window. That is the
same thing they will try to show in
tbaf,. ,1y.a wi making measure
ments and taking sight it is necessary
to close one eye.
After the seeing comes the drawing.
If the class can feel that they are
drawing what they see. when the
grouping is drawn, they should put the
drawing beside the object and correct
ing the differences in appearance, not
correcting the technical drawing. ThlS
should not be corrected until the class
has progressed far enough to have some
confidence in themselves. The teacner
should be careful not to discourage the
child by even a. look, no matter how
grotesque the effort may be. One dis
couragement will often prevent furtner
effort Rather find some resemblance
that can be praised. Teachers too OFTEN
think children should do perfect work.
Drill is necessary, sufficient to make
the arm obey the will. Every bit OF
movement must come from the shoul-
der. The finest work is done by the
full arm stroke. The best artists make
the one long stroke tell the story, IN
stead of little short dabs of lines. This
comes only with years of practice. The
free hand line is the artistic one,
while the ruled line is hard and unyield-
ing II has it's place in mechanical
work, but not in artistic work. Here
lies the charm of hand work over me-
chanical work. Every Turkish rug
tells it's own story and is always chang
ing, like nature Use large lead PEN
Gil, sharpening it from you till the
wood is cut away from the lead, then
sharpen it on emery paper until 1t has
a cone at the point, slightly less in al
titude than the base. With this you
can draw a broad, soft, gray line.
Teach the children to loosen up their
arms and take the rigidity out of them.
They cannot work to advantage unless
they do SO. Drill in circles. The large
circles are the easiest to draw. Gradu-
ally make them smaller, which is more
difficult Then teach them to draw hor-
izontal and perpendicular lines, forming
squares Afterward draw diagonal lines
crossing one another. These exercises
will teach the pupils to divide space.