The Ely miner. [volume] (Ely, Minn.) 1895-1986, 1906-04-06

stage Of action would have to be wideued
and Its Importance increased.
When the figures are merely accessory
to the landscape they are to be treated
as any other object, but the human in
terest is always more insistent than in
animate nature, and it's artistic i'm
portance keeps it from being too much
subordinated.
Problem of Proportion.
The intention of the picture must sug-
gest these degrees of the figures i'm
portance.
In the picture of the girl carrying milk
pals through the orchard three degrees
OF the relative Importance of the figure
are given. 1t is evident that the figure
could be made so small that 1t would be
valueless, if not meaningless, and it
could so fill the space that the possible
beauty of the landscape setting would
be lost. Experiments with number of
proportions, as before recommended.
would cultivate the judgment better
than keeping in mind suggested rules.
good proportions by constant example.
1t must not with the figures any more
than with the forms be told of qualities
that it's limited comprehension would
find but restraint in work. The teach
er who has followed the child thus far
must have found that it has learned by
work and not by rule, or it has not
learned at all. The teacher may be able
to work under the control of precepts in
art, but that is the result of his mental
training. He has lost the perception,
the imitativeness of the child, and has
to supply the loss by theory. 1t is nee
essary to advise the teacher for his own
work whatshouldn never be told the child,
but which must be conveyed to it indi-
rectly through the teachers examples.
The relation in size of one object to
another is to be noted, not thatrules for
its regulation can be given here but that
the absence of it in his own efforts may
be referred to the right cause by the
teacher.
A wide discrepancy Of proportions
will be found in the child's first efforts
with figures in landscapes. Objects
will seem far apart and the whole pic
ture will look out of joint The teacher
will constantly have to refer to the pro-
portions given, not that other proper
lions might not be equally good, but that
these examples have been composed
with ideas of breadth and simplicity
which might appeal directly to any such
appreciation of proportions.
Tracing from Art Prints.
In these days of the dissemination Of
art by the newspapers half tones Of,
good art appear from time to time. For
instance, the Abbey decorations for the
Boston public library; the Sargent frieze
for the same place, and pictures of like
character must fall within the notice
of all. 1t is suggested to the teacher
that he could study such proportions by
tracing the figures in those pictures in
the style of the block figures he is en-
ploying. This could be done on any
transparent or thin paper, always draw
ing the full proportion of the frame of
the picture and reducing the figures and
accessories to the simplicity Of the SYM
boil forms that comparison may more
easily be made. A realizing sense of
the fullness and bigness of great ex-
preston comes from such study. The
teacher whose own expression is from
that point of view has saved the child
much after-study If the child should
carry its art expression as far as
academic development. 1t lies with any
utterance that the bigger and broader
the expression the greater the work of
art. and the teacher need not regard
these little Noah's ark men and women
and trees and houses with which he
works as impossible of most serious
treatment. The majesty of the Egyp-
tian Memnon was upon very severe and
simple lines. 1t is the depth and seri-
BUSINESS of the intention back Of it that
makes toy or work of such medium.