The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-05-15
well known authorities going to sub


G. F. Carroll, Of Worcester. Mass.
says. cart in any sense is but a form
of manual training, and all that can
be said in favor of the DEVELOPMENT Of
the beautiful is an argument in favor
Of manual training. If you can find a.
school system where the kindergar ten
takes the children very young and i'm
nlediately gives them opportunity to do
hard things. l can show you a set of
children whose will power has been
strengthened. If you can show me a
set Of children where in early years
modelling or work in Sloyd or some
other form of hand work has been
wisely and continuously carried on.
can show you persevering, strong will
ed, self-reliant children
Realizing that facts and phenomena
OF nature are observed much more
thoughtfully when a knowledge Of them
is to be expressed afterward by draw
! ing, Agassiz not only demanded of ami
NAL life studies should be made but
admitted to his classes only those who
! could draw.
He says: "a lead pencil is an excel
| lent microscope. The young observer
will not see the peculiarities of the mai
ural object nor Its graceful beauty until
he attempts to draw 1t with his pencil )"
F. L. Sylvester, of st. Louis, says: 81
believe in drawing. 1 believe it is a
greater language than writing, and
that 1t was the foundation of human
expression before writing existed. Ev-
| erybody, even those who cannot read
writing, can read a drawing. This Ian
| guage is neither English. German
French nor Chinese. 1t is nearest az
all to a universal language. Surely
we are not trying to make artists of
| these children. 1t is training we want.
training to see-to see correctly and
directly.
| James l.. Hughes, inspector Of
schools, Toronto, Canada, saws: eft is
sometimes objected that only a few can
| become great artists and, therefore II
IS waste of money and the time of
those who lack the natural ability to
achleVe distinction as artists, to teach
! art in the schools. 1t would he az req J.
sonable TO object to the teaching If
composition. because COMPARATIVELY
few become distinguished authors. or
| to the teaching of natures elevatine.
lessons because few children are likely
to become profound scientists. Everv
| child soul receives culture from the
| proper teaching of art, and without
| this culture it's development would ha
| less complete. 1t would have less DOW.
er to receive or to give happiness. and
| less power to understand God and grow
| consciously toward Him."
| Carroll d. Wright, labor commission
| er, Washington, D. c., in a paner on
Art In Its Relation to Social Well
! Being, says: AS students of sociologi-
cal conditions we must recognize the
great trutn that there is nothing prog
| reSSlve that does not come from some
form of art or some expression of the
! creative power
The future expansion of industry
ana or commerce, the future elevation
In the character Of the employment of
all classes OF people, the increase of
their earning capacity, the opportunity
OF increasing the standard of their en-
Vlronment, all depend upon this Guilt
walton of the industrial arts. But look
ing beyond this, Industrial art is a.
| source of wealth. Fine art itself is a
! wealth producer -
Art in all its forms is the express
! sion to the eye, to the heart and to
the soul OF divine inspiration; it has con-
trlputed more to social well-being than
! any other force that can be named"
TESTIMONY. OF THE CHILDREN.
The following letter has been receiy-
| ed from ST. Paul teacher who was
happily surprised at the intelligent in
tereSt shown by her little group Of "art
students" ranging in age from nine
! to eleven years, during their visit to
the art exhibit lately held in st. Paul
| She herself had7the benefit of foreign
travel before entering the teaching
| profession, and her letter is Suggestive
! as showing What a teacher who has
enjoyed such advantages can do for the
| children under her care.
| In the millenniumi when road-mind-
! ed students of education shall be the
potent factors in the dictation Of edu
eational policy, opportunities for the.
| teacner VIII De recognized at their true
| value to the state, and means for aach
Improvement will not be wanting.
Under present conditions many a
teacher must consider adversely the
| spending of street car fare in the pur
suit OF professional means of grace"
| school children, those of ths first
two grades, We're to be taken to the art
t ehHni nist some OF US felt that. to many
pressure. and that only the older purils
would enjoy the glimpse given them of some
ol dne worries great pictures. and of the
!nlghty cathedrais, which embody in en-
during stone, the aspirations and fervent
faith of the older days.
las was one Of those who was pleasantly
disappointed in the interest of the younser
children and the vividness of the impress
sion made upon them by it all; have been
aseed to tell in few words of the i'm
fourth-by the recent exhibition of photo
graphs.
to see had made them familiar to a de-
gree with names of men ard places and
perhaps can not better show the tenacity
Of of,t their adr impressions than by quoting liter
bit a week after they had seen it.
TEL me about some Of the buildings
c ahlsn % st msSd asas
In Rome" When was it buiIt?' About
f 800 years ago. In what style CT arch
Now, another. Cologne 3aGe cathee a."
xnofser is that Milan I'm IN co19spe
1T decorated?" with statues"
HAnother." "St. Marks in Venice" and
before | could ask further about it, one
urchin told us it was LOCO years old. and r
dear little freckled-faced Irish girl, with
scsAcely wait to tell us that sit was decor
ated all over with little stones. the cell
ing, the walls and the floor" Another little
enc showed that her vocabulary had been
''mosaics.''
When we came to the mosque at Cor
years before our country, was discovered;
that 1t was in SPAIN; that it had been
built by the Moors, who were. driven out
of the country. in that year of all years.
known by American school children be-
yond the possibility of forgetting
They had not forgotten the Erecthema,
nor that it was 1900 years old, and that
carved women supported the temple roof
When we came to the painters they gave
me the name Of Raphael; told me when he
lived and sai1 that the Sistine Madonna
was his greatest work. One surprised me
by mentioning the Reconsideration, as we
had not dwell upon it.
Then Murillo was spoken OF, and no
sooner was the name out than some one
called out He loved to paint virgins and
beggar boys
When we came to modern painters they told
me that "Corot was the greatest landscape
artist who ever lived" that he painted his
pictures only in the early morning or even
ing.
All wished to tell who painted the much
loved "Angelus" SO