New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-02-06


is encouraged to express his ideas freely. Cen
eraI PRINCIPLES and suggestions as to forms are
given and the pupils are then asked to originate
designs based upon these principles.
FEATURES OF TIE SHOP WORK.
".rhus in the shop work the boys learn first the
nroper use OF the tools ard the manner OF cut
ting. carving and joining of pieces OF WOOD. Ihey
nr,ctieo ut the beginning on simple forms, ana
r-occed gradually until they have learned all
the details OF moulding, mailing ana Neneerlhs'
nc well as the several kinds Of joints, mortise'
lock. dovetai, etc Then they are ready 10 APP
ply these principles TO the construction OF aru-
cIes of use and they turn out wcll-inade pracN-
cts. inkstands picture frames, keyracks' DOCK
shelves boxes and even desks. OF course, ,he
work is developed slowly, and it is only III the
higher grades that the construction OF the more
elaborate articles is attempted through 'he
course in mechanical drawing, which the pupil
takes with the constructive work, he learns how
IN make and carry out the ideas Of a working
drawing This he has correctly lettered and
dimensioned. and it serves as his pattern.
"'Freehand object drawing is one Of the most
important branches Of the work. because 1t Is
ca2able Of being applied advantaseousy IN so
many studies The pupils take all klnds OF
familiar objects for models, sometimes sinsN
and sometimes in groups. Natural objects, sUch
as the many varieties Of plant forms, shells ana
small animals, are valuable models, because
they awaken the childs interest in nature ana
teach him t. see beauty and interest in COM
mon things Plant forms are TO be found in con-
siderable variety at nearly every season OF the
year. Leaves from the different trees. Wild
flowers, berries, fruits and grasses are all use
full and the children in the crowded tenement
districts, as rule know little or nothing about
them A visiting teacher who found one day
that the pupils in her class had never seen q
bee was astonished. and took pains to bring
them one the next time she came. When the
pupils have advanced into the higher
grades Notwithstanding from the living
model is taught One OF the class Is al
lowed to pose for the others. the poses being
always simple of course, in order that nothing
much beyond the pupils skill may be attempted
This Notwithstanding has sometimes been ridi-
culed because the children often produced draw
ings which were from artistic point OF view
very DOOR But that is not the way in which
the subject ought to be regarded or course
the children are not accomplished artists. But
by trying to draw what they see before them
they learn far more about it than they ever
would in any other way. 1t teaches them close
observation. and they cannot fail to gain some
idea Of how to express by lines what they see
MODELLING IN CLAY.
There is a special course TO train the pupils
perception OF color, and this has been proved
very important part of the work. The design
ing also is made a strong feature. 1t develops
originality, and the children like 1t. In fact
they take very kindly to all the manual training
work The modelling In clay Is to be taught to
all the classes after the first year. and has been