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at the foot, and sometimes elsewhere. And, instead of the word "Next," when another pupil is to read, call on some one by name, standing near or remote from the preceding reader, and thus, without any regular order, till the lesson is finished; sometimes returning, again and again, if you see cause, to the same individual. You will thus be sure of the attention of every one, and each will have the advantage of instruction, not in his own portion merely, but in that of every classmate.

If time should not suffice for a regular and effective drill of every member of the class, do what you can thoroughly; sham nothing. To teach a class in reading properly is not the job of a few minutes; it should occupy from half an hour to an hour, according to the number of members, that each one may carry away from the exercise some new thought, some item of knowledge, at every lesson. You, of course, cannot do all this, with each of your classes, every day, unless your school is under the charge of several teachers for the various departments; but following out this plan- when a lesson is given, it will be of some value to the learners.

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Several years ago, the Board of Education of Massachusetts distributed a set of questions among the school districts of the Commonwealth, for answers from the teachers; and one of them was, "How many times a day do your classes read?" I thought then, and I think now, that, if those gentlemen expected a single teacher to give instruction in anything but reading, in a school of the average number of pupils and classes, it was preposterous to hint that more than one reading lesson a day could be given to each class, unless where the merest elements of school studies were taught. To make accomplished readers of a school of children is a rare achievement, and can only be done by much time and patient toil, and never where, from the unreasonable expectations of the directing powers, the teacher is tempted to slur over the lessons.

I have, in these remarks, very unsatisfactorily to myself, given some views of the importance of reading, and added some notions on the mode of teaching it. I find, on review, that it has been done in an imperfect and rambling manner; and were it not given in the form of a letter, in which department of composition large liberty is allowed. I should hardly venture to place it on the pages of the Journal, whose articles generally are so superior as literary performances. My aim, however, is not at fine writing, but rather to do something to aid inexperience in the business of developing, to the best results, the various powers of the young.

XIV. INSTRUCTION IN DRAWING.

[From the Connecticut Common School Journal, March, 1857.]

[WE take pleasure in giving to our readers the following communication from Miss Dwight, whose system of drawing has been received with much favor by some of our best teachers. We have long felt that the art of drawing was deserving of more attention in our schools, and we cordially welcome any efforts that may tend to secure more interest and better results.

Mr. Hart, a highly accomplished and successful teacher in Farmington, writes that he considers "Miss Dwight's system most worthy of the attention of those interested in education. It is a common-sense system. It is, in an eminent degree, a natural system, leading, as it does, directly to the study of natural objects, without the intervention of a mere copy of them." We commend the article below to the attention of our readers.-RES. ED., CONN. C. S. J.]

The important question, "how shall drawing be taught successfully in schools?" is now attracting the attention of educationists, which is a good sign of the times. By duly attending to it, they will find that, to teach drawing successfully, it must be taught systematically and scientifically, receiving the same care and attention as other studies pursued. When it is as well taught as others, the practice of the art will be found of great practical value, and not wanting in interest.

Let us suppose that a scholar wishes to learn geometry, after having attained the age of fifteen, and also to become an engineer. With this object in view, and without knowing the simple rules of arithmetic, he is placed under the care of a professed teacher, who first gives him an arithmetical class-book, with directions to copy the sums, and, from the key, to write down the answers. He then gives him the algebra, and follows with the problems of Euclid, all of which are to be copied in the same mechanical manner, without regard to the rules or principles of arithmetical calculation, or the laws of geometry. With such instruction, (for the same process is called instruction in regard to art,) will he be prepared for any practical application of the

science of geometry, or for any independent effort in the way of engineering?

Again, let us suppose that, at the same age, he presents himself for instruction in the art of written composition, not having yet learned to spell, or even to form a letter with the pen. The teacher first requires him to copy, verbatim, the lessons in the first reader, and then some finished orations. What will he have gained in the process? True, his tastes will have become somewhat cultivated; but, will he be prepared to write an original theme? Yet, this is the way that drawing is taught in our schools, and the people say, "Of what use is it?"

The love of drawing is a universal taste, which may be known from the fact that nearly all children love to draw. Those who are not pleased with the use of pencils and a box of colors are the exceptions. It would, therefore, require no effort to make it a regular study, commencing at eight or ten years of age. For the disinclination manifested afterward several reasons may be given. In the first place, acquiring the rudiments of the art after the taste has become a little cultivated is a drudgery. It is not more so with drawing than with music. The rudiments of all studies should be acquired at an early period. After childhood is past there is a feeling of dissatisfaction at the puerile efforts at skill, which naturally creates a disrelish for the pursuit. In the next place, drawing is made a perfectly mechanical lesson. The scholar has placed before him a picture of some object, or group of objects, of which he is to make a copy as well as he can. If his poor skill fails in the attempt, the teacher lends a helping hand, and the work is accomplished after a certain manner; and, if the natural taste for art is sufficiently strong, the scholar perseveres until he has acquired the ability to copy a picture without assistance. But, if the scholar have only a moderate taste for it, he finds no gratification in the pursuit, and, as no intellectual capacity is exerted or gratified, he gives it up in disgust, asking the same question, "Of what use is it?"

Yet, it is of use, even in this imperfection, inasmuch as it sometimes leads to the development of fine natural abilities, the cultivation of which is a source of profit and honor to the possessor. With common school training, the talent for other things is developed, and, if properly taught, the scholar finds himself capable of making the most of his natural gifts. Every talent, but that for art, is duly cultivated at school, or, at least, a foundation laid for it; and, why should this be made an exception?

In regard to the manner of teaching, the scholar should commence

young.

Every teacher understands the difference exhibited in the capacity for acquiring rudimentary knowledge at the respective ages of seven and fourteen. Childhood is the period for acquiring rudimentary knowledge in every department of study. Then, there is no impatience felt at slow progress; no haste to get on to something apparently more attractive. And, to acquire perfect manual dexterity, either at the piano or the easel, the scholar must begin to practice in childhood. In the instruction of this branch as well as that of mathematics there is but one right way. Let the teacher first give the child some exercise in curves and circles, without reference to drawing from any model, at the same time holding his pencil properly. This requires that the wrist should rest upon the table, leaving the whole hand free for action. The drawing of curves in every direction, with the wrists so rested, will be found a perfectly easy and natural exercise of the hand. There is no better preliminary exercise than the drawing of a circle, guided by. the eye; not to make one, and then another, and so on for twenty in succession, and leaving them imperfectly done; the scholar should correct and improve each one according to his ability; dividing it by straight lines into halves and quarters of circles, depending on his eye alone for guidance. This is all the preliminary practice required in straight lines. In drawing straight lines for this purpose, he does not find it irksome, for he has an object in view. On the contrary, nothing is more tedious or more useless than drawing straight lines merely for the exercise. The straight line may always be corrected by the ruler. The great point in practice is to make the curve, and this should be the first object aimed at; for, the infinite variety of curves required in the practice of art no instrument can define, no ruler can rectify.

The ability to draw a straight line has been considered a test of native capacity. This is one of the mistakes of ignorance. Let the teacher question the scholar in regard to the division of his circle, and if he can not see when one part exceeds the other in size as marked by his line, he has no eye for form, and will not progress by practice. If his eye is capable of measuring so as to detect a difference, it will improve by practice, and he will, in time, if made to depend upon his eye, learn to discriminate the nicest variation of curve. first importance. Do not forbid measuring; but, encourage independent action and self-reliance in every effort.

This is of

The first step is to imitate some simple form which gives practice in the curve. The object itself is preferable to the representation of the same thing on paper; and, the scholar should, from the outset, be

accustomed to making his own representations of objects. If he does not begin with that, (and it is just as easy for him,) he does not know when to change. After having first drawn from prints, beginning with the imitation of form is just like commencing anew. From simple objects he should go on gradually to more difficult, always improving and correcting his drawings. The teacher should require him to correct his own work; point out the faulty part, then let him study the form of the object before him, carefully comparing his own imitation of it, correcting and improving his lines, until he has accomplished all that he is capable of doing at that stage of progress. This is the most important part of his exercise; and, to accomplish his task well, he must apply himself to drawing as to a study. The teacher should render assistance according to his judgment, and, by his own lines, show the scholar, if a better curve can be made than his own.

In this method of instruction the class will not fail to be interested. In one school, where the instruction given was limited to mechanical copying, the class anticipated the lessons with a feeling of dislike. Casts are now introduced as the models for study, and the scholars have become so much interested that the time given to the lesson is considered too short. They are interested because they feel that they are acquiring skill with the pencil, and really understand the value of the lesson to which the hour is appropriated.

[The following extract from a letter from Prof. Phelps, Principal of the State Normal School of New Jersey, in which a pupil of Miss Dwight has taught Drawing after her method, bears the strongest testimony in its favor.]

It gives me very great pleasure to bear unequivocal testimony to the excellence of the method of drawing which has been in use here during the past year. The progress made by our classes, in view of the limited period during which they have been under instruction, is altogether unexampled in my experience or observation. The lively interest exhibited by the pupils, and the genu ine love for the study of art which this method has inspired, give it precedence over any other with which I am acquainted. Indeed, I believe Miss Dwight has developed the true idea, and that it is destined to work out a radical revolution in this important department of school instruction.

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