The formal system held sway for a generation. Then followed a period of experiment and revolt. Many systems, often compet ing ones, sprang into existence. Ambidexterity, brush work, mass drawing, pastel work—all had their vogue. But certain features have come to stay—imaginative and memory drawing, the care ful delineation of natural objects, the practice of design with a specific object in view as against mere pattern making. A point on which there is less agreement is the extent to which the child's imagination should be allowed free rein at the possible expense of acquiring adequate technique. It is the old quarrel between the modernists and traditionalists and possibly the truth lies some where between the two. All good teachers however are unanimous in holding that the main idea should be to develop the pupil as far as possible on his own lines, and not as a mere replica of the teacher. In fact the general effect has undoubtedly been to make for greater freedom all round, and for this we have to thank the psychologists, one or two of whose works are quoted in the bibli ography. The subject has also considerably gained in prestige in the schools. To-day in elementary and central schools it is taught throughout and in the latter by a specialist teacher.
In the secondary schools a great step forward was taken when art, in 1924, was made a subject in the general school examina tion, while art can now be offered as a main subject in the ad vanced course. (See SECONDARY EDUCATION.) Further advance
will be possible in the elementary schools by the appointment of a specialist to organize the subject. In the secondary schools the next reform in view is the recognition of art as a second subject in the arts and crafts group for non-linguistic or non-mathematical pupils in the general school examination (see EXAMINATIONS), while a growth in the number of advanced courses in art may also be confidently anticipated. Again in many schools of both types greater co-ordination between the other subjects, all forms of handicraft in particular, is also overdue.
Finally it should be pointed out that the schools do not aim at producing a small number of skilful executants—though. with efficient teachers, advanced courses and sufficient scholarships to higher places of art teaching, this should be increasingly possi ble. The chief objective is the aesthetic and mental development of the pupil through the arts as one of the main channels of cul ture, which is still too of ten interpreted in England in purely literary terms. All pupils cannot be expected to create works of art, but practically all may be taught to appreciate them. Hence the teaching of appreciation, both by direct and indirect means, forms today an essential feature of art education.