The easiest and best way of learning action drawing is by these three ways, as follows:

First the Copy. Learn how to express the action through the copy. That is learn the method, the principle, the mechanical process; and the lines that represent action and how it is done. Then:

Second the Memory and Imagination. Drill. Use the action thus learned in memory and imaginative work until it can be represented with some degree of facility, and then: Third the Object. Use direct observation to verify, correct and perfect the action until it can be represented with both accuracy and facility.

This is just what we do in this lesson.

Draw an officer walking.
Draw a soldier walking.

Draw a boy, with a cap walking.

After this action is learned, then it can be applied to any object, as in Fig. 2. Here A represents the action and in B it is applied to a turnip and in C to an ostrich, then a turkey, a goose, a sheep, a dog, a cow, a horse and a pig. And this gives rise to another series of drill exercises such as: Represent a turnip walking. Represent a mug walking. Represent a pitcher walking. Represent a jug walking.

Represent a turkey walking.
Represent a goose walking.
Represent a rooster walking.
Represent a dog walking.

(Continned on page 36)

It is a truth that Number is a relation between magn'ħudes; that in order to see these relations there must be much comparison; and in order to obtain these ideas of magnitudes simple material and much of it must be used.

Realizing all this, Miss Sarah J. Walter of Willimantic Conn., tried and found by actual experience that measuring of lengths, surfaces and solids have characteristics which make them desirable for teaching numbers. They give clear pictures to the eye, they have definite numerical relations. and they can be freely used in construction. This work is used in the Boston Normal School and in several of the districts around Boston. The following is an explanation of the work of the three Primary Grades:

GRADE ONE

To develop the number sense take about ten children around a table. This is furnished with sticks, strips of colored cardboard and colored paper, colored twine and worsteds, etc., measuring from one to twelve inches. The teacher picks up a stick. The pupils are directed to find one the same length. When this has been done correctly by all, the sorting begins. This is continued until all the pupils have several piles and thus show by this sorting that they recognize likenesses and differences. Then encourage using the terms,-longer, shorter, very much longer, just the same, just as long, equal. The next step is that of the pupil comparing his measure with that of another pupil, choosing measure and comparing it with one shown by the teacher, and the arrangement of the measures in steps from the shortest to the longest and the reverse.

[Much sorting and matching can be done as seat work after it is clearly understood.]

As soon as pupils see differences in lengths, teach the exact lengths from one to twelve inches. The pupil finds the shortest measure and learns its name, finds other inch measures, finds things about the room that measure an inch and test them, draw lines an inch long and test them.

Teaching the inches from two to twelve is after a similar plan. The teacher shows a measure (three) inches long and directs the children to find one as long. The measure is tested and the name given. Pupils find other things (three) inches long, draw lines and select lines (three) inches long. Find measures inches shorter and test. Find how many one inch measures make inches; how many two inch measures, etc. Teach pupils to add measures to those already known to make the largest measure known. smaller measures and test the length of the one left. [Many lessons in seat work in cutting strips, drawing lines, and building measures are given].

Take away

After length is firmly in the minds of the pupils measuring surfaces follows. Tablets, colored papers and pieces of cloth in squares and rectangles are the necessary material. The same method that was used in teaching length is used in teaching surface. Measure and test surfaces, compare and build surfaces from one square inch to twelve square inches. Some children will notice here that different surfaces contain the same number of square inches. Give these children an opportunity to compare equivalents by allowing them to build in as many ways as they can surfaces alike in content.

Grade the lessons carefully. Have a little counting every day until the pupils can count by ones, tens and fives to one hundred. Have also a little of linear measure and a little surface measure every day. Take great care with the language work in these lessons. Take time to allow the child to tell in his own words just what he has done, what he is trying to do, or is going to do.

GRADE TWO

This grade continues the counting by two's, three's and four's; continues a better understanding of figures by their use in expressing measures, and an added knowledge of operations through measures. The foot and yard measures are studied the same way as in Grade One. Problem work is introduced, both oral and written. Such problems as this are used: Ned placed a four inch measure with a six inch measure and he had a ten inch measure.

Square inch tablets of all dimensions not exceeding fifty square inches. Study the surfaces containing from thirteen to twenty square inches in their order. Beyond this only the composite numbers seem practical as, surfaces containing twenty-one, twenty-four, twenty-five, twenty seven square inches, etc., rather than surfaces containing twenty-three, twenty-six, twenty-nine, square inches, etc.

In Grade Two much work is given to train the pupil to see other parts in a certain whole. A pupil builds a tablet ten inches long and one inch wide, and another four inches long

and one inch wide. Train him to see other tablets in that whole-as, a tablet nine inches long and one inch wide, and five inches long and one inch wide.

Expression of operations by figures is begun in this grade. This is done by means of problems. Give a problem like this: Draw a line two inches long, another six inches long, and another five inches long: The teacher asks for the length of the first line and writes it, two; the length of the next and the next, and writes one under the other thus 2

5 13

Other problems are made, written and explained—as, two stands for the length of this line, six stands for the length of this line, and five stands for the length of this line.

Similar work is given in Subtraction, Multiplication and Division, each time being very "reful to choose such probillustrating such as are necessary to show the operations. lems as will show the process very clearly. Here are problems Draw a line fourteen inches long. Mark off eight inches. Express the work in this way

14

8

Explain, sixteen stands for the length of the string, two shows where the beads are placed, eight tells how many two inch spaces there are. In sixteen there are eight twos.

Be careful that the pupil first expresses his thought with the material, next with the words telling what he has done, and lastly with figures. The figure work should be the third form of expression, showing that he has interpreted the problem aright.

ontinue the counting in Grade Two. Start with one and think on by twos. Start with twenty-five and think on by threes, etc.

A little counting backward may be done. In the second grade ten is taken as a unit. Count by tens. Study numbers made up of tens and units. Show with bundles. Count bundles. Express in figures.

GRADE THREE

Review the work of Grade Two in length, surfaces and solids. Study the foot and yard by measuring longer distances in the schoolroom, corridors and out of doors. Teach to draw little plans of a garden in the school yard. Draw the exact size at first on the floor. Teach pupils to understand the plan by telling them to find the line that represents the length of the garden, width of the garden, south side, etc. Then provide paper for the drawing that the pupils may see the necessity of drawing to a smaller scale. Use simple scales, as one inch for a foot, one inch for two feet.

As soon as pupils are very familiar with surface dimensions, try giving dimensions without objects-as, write thirty-six square inches on the board. What may the surface be? It may be a surface nine inches long and four inches wide, or it may be a six inch square, or it may be Give much of this comparison work. Also compare such surfaces

as six inches by seven inches with surface nine inches by five inches. The length of the first is three inches shorter than the second and the width of the first is two inches longer than the second. This work allows much comparison by addition and subtraction.

The study of square foot and square yard is taken up in this grade. The method is the same as for the study of smaller surfaces in Grade Two. The work in solid measure is continued by building and describing solids, counting the area of the entire surfaces and the comparison of two. Sets of problems should be prepared covering all kinds of work in measurements. Care must be taken to use all the numbers from two to twelve as a number measure, so that all the facts in addition, subtraction, multiplication and division may be covered.

As a new unit hundreds are introduced by the same method as is used for the study of ters.

In the first two grades a greater part of the time is spent in the concrete measure work. In order to prepare for the later work, now that the child is prepared to think numbers intelligently, much drill in abstract work is necessary. The third grade is the time to begin this work. It is suggested that half the time alloited to number in this grade be given to the work with measures and half to the abstract work in operations; that the two kinds of work be taken separately, and that no object be used during the period of abstract work. The usual work of the Primary Grades in mensuration of time, of value, and of dry and liquid substances should be done.

Much in the way of results has already been obtained by following this plan of work with little children. It gives children a clear and usable knowledge of numbers, ability for individual thinking and independent action, great power of expression, and an increased interest in all parts of the work with numbers.

In the quaint old Flemish city of Antwerp, in one of the deep window seats of a pleasant home, a fair haired mother was bending over her embroidery frame. Her fingers were very skilful, and silken vines and flowers of exquisite colors grew rapidly when she guided the needle. In all Antwerp no one could combine and shade the brilliant colors so beautifully as she.

She was fond of working out in the silken floss quaint bits of landscape that she had seen and liked, or some story that stirred her. One of these was the story of "Susannah and the Elders."

Rubens admired her embroideries, and asked permission to paint one piece in one of his pictures, where he wished a scarf of beautiful colors flung across

the emperor's chair. Today she sighed as she worked, for she could not make her work so beautiful as her dream. "Why do you sigh. mother?" asked the children who were playing in the room.

"I wish that I could paint the beautiful pictures I dream about," she answered. "I think if one of my seven children should be an artist I should be perfectly happy.'

Little four-year-old Anthony came close to her side. and said, "Mother, when I grow up, I will be an artist, and paint beautiful pictures for you."

Courtesy of Perry Pictures Co. Van Dyck BABY STUART

snatched this "Quick she youngest darling,

Smoothing down his golden

hair, Kissing, with a crazy rapture, Mouth, and cheek, and forehead fair;"

And, as she cuddled him closely in her arms, she laughed and said,

"So, my baby! You would like To be named with Flemish Masters,

Rembrandt, Rubens, and Van Dyck!"'

The year slipped away, and the baby's words and the mother's wish came true. Anthony's mother died when he was only eight years old. Two years later the little boy began to study in the studio of Van Balen. He worked hard for five years; and easily excelled all the other pupils.

When he returned from Italy, he wished to study under Rubens, and his reputation for industry and skill was so well known, that he easily obtained permission, though dozens of artists were constantly seeking the distinction of working under the great artist.

Van Dyck was soon Rubens' favorite pupil, the one most often chosen to help his master, an honor much sought by all the pupils.

Rubens preferred that the pupils should not know what

he was painting in his private studio. One evening, however, the young men, after the master had left the studio, forced the door open. They found on the easel, the paint undried, the wonderful picture of the "Descent from the Cross."

As they crowded around to look at the picture, a careless student brushed with his arm the face and shoulder of the Magdalen.

The pupils were frightened. They did not dare to leave the picture so badly blurred. They chose Van Dyck to repair the damage. There were only three hours of daylight in which to work. Very reluctantly Van Dyck began to paint. He did his best, and the other pupils assured him that it looked

just as well as the master's work.

The pupils watched apprehensively when Rubens enterea his studio the next morning. The master recognized Van Dyck's work and did not change it but spoke pleasantly about it.

Rubens quickly discovered the strongest point of his favorite pupil, and advised him to study portraiture. When Van Dyck was only nineteen, he was elected as a member of the guild of St. Luke. This was a great honor, for only workmen who did their work skilfully and conscientiously were allowed in the Guild. Van Dyck was the youngest member admitted to the association. Later Van Dyck studied in Genoa and Rome.

Some of his best pictures of sacred subjects were painted while he was in Rome. "The Crucifixion," "The Adoration of the Magi," and "The Ascension." Later he painted "The Holy Family" and "Repose in Egypt."

Perhaps no one of Van Dyck's pictures is more loved than the widely copied "Baby Stuart," from the youngest of the three in the group known as "The Children of Charles I." The King liked Van Dyck's beautiful pictures, and spent a great deal of time watching the artist work. He had at least thirty-six portraits of himself and twentyfive of the queen, be sides a great many of his children, painted by the artist.

Baby Stuart, with his sweet, thoughtful little face, his quaint cap and chubby, dimpled hands, has found a warm place in every child lover's heart. We are sorry that his life was not a happier one.

James, Duke of York, or Baby Stuart as we often think of him, was the third child of Charles I and Henrietta of England. He was born in 1633. When he was sixteen years old, his father was beheaded by the people of England who did not like his way of ruling. King Charles was always a kind and loving father. After his death, the queen and her children escaped from the country. James, Duke of York, when only a boy, entered the army of France, and afterwards that of Spain, and proved a brave soldier.

In the painting from which Baby Stuart's picture is taken, there are three children. Each of these lived to sit on the throne of England. The one standing by the dog was afterwards King Charles II of England. The girl was known as Queen Mary (who reigned with her husband, William of Orange). The third child, Baby Stuart, became James II, King of England. He reigned less than four years, and then ran away to France, where his uncle gave him a palace to live in. He grew to be a sad, stern, disappointed old man.

Value of Art to the Artisan's Child
By W, A. Baldwin

Principal Hygannis State Normal School

What should art do for the children of the artisan? It seems to me that we may say, as a general proposition, that it should help him toward a sweeter, saner, more wholesome life. To be still more specific, the course in art in the public schools should influence the ordinary citizen as to:

1. His home and its furnishings.

2. His dooryard and garden.

3. His dress and manners.

4. His appreciation of the birds and woods, and of parks and parkways.

These things may at first seem simple, homely and far beneath what we usually think of the world of art, but they are fundamental to all true art and may furnish the basis from which to go on as fast and as far as the conditions of the children and their environment warrant.School Arts Book.

Industrial Education in the
Elementary Schools
By Augustus S. Downing
First Assistant Commissioner of Education,
New York

The widespread discussion of industrial and vocational education, at public expense, under public control, justifies us in assuming that the traditional course of study for liberal education in the elementary school is to be seriously affected. Leaders in education have persistently combatted any tendency to regard the primary function of the elementary school to be that of directly fitting the child to earn his livelihood. They argue that it is at the best difficult to get for large numbers of people even the beginnings of cultural education, and they are determined to see a

Courtesy of Perry Pictures Co.

conflict between the purpose of the old and long-established program of studies and that of the proposed program. President Butler, to my mind, cleared the air and concisely stated this phase of the question when he said: "It will be a grave error to set vocational training and liberal training in sharp antagonism to each other. The purpose of the former is to pave the way to some appreciation of the latter, and to provide an economic base for it to rest upon. The equally grave error of the past has been to frame a school course on the hypothesis that every pupil was to go forward in the most deliberate and amplest fashion to the study of the products of the intellectual life, regardless of the basis of his own economic support. "

What industrial education means to the elementary schools may therefore be summed up as follows:

1. A more careful grouping of children with reference to their capabilities and proclivities.

2. A more sane and democratic arrangement of courses of study.

3. A new unit in the school system, namely, the vocational school.

4. A more cordial feeling of inter-responsibility between liberal training and industrial training.

5. A closer unification of all the work of the elementary

course.

6. A longer school day with longer and fewer periods. 7. Better teaching of subjects by careful distinction between the essential and the non-essential.

8. An awakening and clearer insight of teaching into the possibilities of their work.

In a word, industrial education means to the elementary school its complete vitalization. --Address before N. E. A.