THE TEACHING OF DRAWING. The delineation of an object actually seen involves, first, observa tion, which comprises perception and attention: secondly. the memorizing or mental retention of the visual impression while the eye is momenta rily withdrawn from the object to the paper; and thirdly. the coordination of the movement of the hand with the outlines of the memorized image. In drawing imaginary forms or designs originat ing in the artist's mind. a mental image takes the place of the visible object. and imaginative and creative power—the ability to visualize clearly and distinctly in the 'mind's eye' these mental images—is an important element in all draughts manship of the highest order. Skill in drawing is thus in quite as large measure dependent on in tellectual factors as on skill of hand, and no sys tem of teaching drawing which confines itself to the mere discipline of hand and eye can be con sidered as scientifically or philosophically cor rect. The draughtsman draws best what he 7,:notes best, beeause well-known forms are those most easily and clearly visualized, so that a thor ough acquaintance with the widest range of forms is as essential to eonsummate draughtsmanship as is manual -kill in portraying them. Thus it is that constant drawing from life. from nature, from the obieet. not only gives facility of execu tion, but, by enlarging the range and increasing the thoroughness of the artist's knowlodgc of forms, gives him greater resource and a broader grasp of form in general.
Modern systems of teaching drawing to chil dren in the schools generally recmmize these principles. The earliest work in the kinder garten and primary grades is such as to stimu late the imaginative and picturing faculty of the child. while he is trained by modeling and weaving into familiarity with the more ele mentary forms of common In sub sequent grades the powers of accurate olc:erva t• are cultivated and di-riplined. while manna] dexterity is imparted almost insensibly by varied exercises in drawing from leaves. flow ers, and still life, and from 'flat copies' of orna ment forms. In the higher grades. drawing from the cast, from the antique, and from the living model, in various media. such as charcoal, In dia ink, and crayon sauce, gives flexibility to the student's powers of artistic expression, and trains his taste in the selection of what to rep resent and what to reject in his graphic inter pretation of what he sees. He is also ttinght as proper method or procedure in the making of his drawings, and learns the correct use of con struction lines and block outlines, the impor tance of securing, accuracy in the masses before attempting details, and other like principles of correct delineation. In parallel courses, usually in connection with manual training. he has also
been taught the elements of mechanical drawing. All these exercises are invaluable for imparting the power of quick, comprehensive, and :leen rate observation, precision of eye-measurements, and dexterity of hand : endowments all of which are useful in the affairs of life, quite apart from any direct application to the fine arts. The detailed methods and sequence of the instruc tion vary greatly in different systems:. Some dwell especially upon nature-study: others em phasize the development of form-memory; others again make large use of the forms of classic ornament to train at once the eye, the hand. and the taste. In the art schools generally the pupil begins by drawing from the flat copy. then takes up drawing from the antique, i.e. from casts of antique sculpture. and. filially. enters the life-class, in which he draws from both nude and draped living models. The criti cism has been made that in too many of these schools the teaching follows the routine of ap prenticeship methods. and lacks philosophical analysis and progressiveness: but this doubt less is not true of the most advanced among them. The literature of drawing consists mainly of text-books and series of engraved or lithographed studies and models too nu merous to mention, and rarely of serious value. Among the more important works are: Enskin, Elements of Drawing (London. 1857) : Pennell, Pen Drawing and Pen Draughting (Lon don (1SS9) ; Maginniss, Pen Drawing (Boston, 1899) ; Ware. Modern Perspective (New Vork. ISM) Spiers, Architectural Drawing (London. ISSS) : also the interesting Alhani de Villard dr llonnrcourt, edited by Lassos (Paris, 1S5S). For the teaching of drawing, consult: Clarke, "Draw ing in the Public Schools," Report of the United States Bureau of Education. Circular of Infor mation No. 2 (Washington, MU: Todd. Yew ilethods in Education (New York. IS99), See PERSPECTIVE. For the quality of drawing in a paint ing. see LINE.
A board on which drawing-paper is strained for painting in water colors. The paper is wetted for the purpose of being strained. and, when attached at the edges, it is permitted to dry and rouirart. For merly. the drawing-board was fitted into a frame. the edges of the wet paper being made fast by the pressure of the frame on the hoard. Butt the much simpler drawing-hoard whieb is now in use is made of a flat piece or pieces of wood. held together and prevented from warping by an edging of other pieces, the grain of which run- in tl e opposite direction. The \N et pa Ver almae hid to the edge- oi the hoard NN it pa•te thin glne. when dry. becomes perfectly I rut and flat. The kind of board is tor el ar,.0.11 rayon drawing, in which case the I „per merely pinned to the hoard.