u Handwork in ,\ /■ Religious Edacatior ADDIE GRALL lv.,Uu m^j ¥^^ 1 BV 1536 .W3 1916 Wardle, Addie Grace, Handwork in religious education The University of Chicago Publications IN Religious Education EDITED BY ERNEST D. BURTON SHAILER MATHEWS THEODORE G. SOARES PRINCIPLES AND METHODS OF RELIGIOUS EDUCATION HANDWORK IN RELIGIOUS EDUCATION THE UNIVERSITY OF CHICAGO PRESS CHICAGO. ILLINOIS Bgcnts THE BAKER & TAYLOR COMPANY NEW YORK THE CUNNINGHAM, CURTISS & WELCH COMPANY LOS ANOELES THE CAMBRIDGE UNIVERSITY PRESS LONDON AND EDINBUROH THE NARUZEN-KABUSHIKI-KAISHA TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAI THE MISSION BOOK COMPANY SHANGHAI KARLW. HIERSEMANN LEIPZia HANDWORK RELIGIOUS EDUCATION ADDIE GRACE WARDL> ''"^^' ■" '* -^ ^y y APR 19 1918 President of the Cincinnati Missionary Training School THE UNIVERSITY OF CHICAGO PRESS CHICAGO, ILLINOIS Copyright 1916 By The University of Chicago All Rights Reserved Published June 1916 Second Impression December IQ16 Composed and Printed By The University of Chicago Press Chicago, Illinois, U.S.A. GENERAL PREFACE The progress in religious education in the last few years has been highly encouraging. The subject has attained something of a status as a scientific study, and significant investigative and experimen- tal work has been done. More than that, trained men and women in increasing numbers have been devoting themselves to the endeavor to work out in churches and Sunday schools the practical prob- lems of organization and method. It would seem that the time has come to pre- sent to the large body of workers in the field of religious education some of the results of the studies and practice of those who have attained a measure of educational success. With this end in view the present series of books on "Principles and Methods of Religious Education" has been undertaken. It is intended that these books, while thoroughly scientific in character, shall be at the same time popular in presentation, so that they may be avail- able to Sunday-school and church workers every- where. The endeavor is definitely made to take into account the small school with meager equip- ment, as well as to hold before the larger schools the ideals of equipment and training. viii General Preface The series is planned to meet as far as possible all the problems that arise in the conduct of the educa- tional work of the church. While the Sunday school, therefore, is considered as the basal organi- zation for this purpose, the wider educational work of the pastor himself and that of the various other church organizations receive due consideration as parts of a unified system of education in morals and religion. The Editors "If possible invent means which shall use up the motor tendencies, and at the same time make a contributing part of the more purely thought work required of the child. Let some doing accompany all the child's efforts to learn." — Dr. Edward R. Shaw. PREFACE Handwork in religious education has the unfin- ished task of creating for itself a legitimate place in the thought of many Christian workers. Large numbers, on the other hand, are its friends who champion the cause with a convincing apology. This manual will present in Part I, without argu- mentation, some of the reasons for the advocacy of expression work for greater efficiency in all efforts of religious education. The text is ad- dressed primarily to teachers and superintendents. It is presumed that those who seek help from its pages have already faced the problems of our modern Sunday-school endeavor, realizing well that we are in an age of exacting demands if we would hold the interest of developing life and w^ould stimulate it to its highest response ethically and spiritually. In this presentation there is no thought of centering religion in the physical hfe or its expression, but there is an effort to make the inner rehgious hfe more vital in its outer expression, more conscious in its reahty. A second mission is to stimulate that inner hfe by the outer physical means to greater growth and a larger revelation of itself. xii Preface The reader will readily observe that Part I has to do with the more theoretical side of expression work. It may appear to those who are instructors of classes in teacher-training in this field that it would be better to begin with Part II, the actual doing of the problems suggested for expression work, and then return to a theoretical discussion of all that lies behind this department of rehgious education. The advisabiHty of such an arrange- ment will depend upon the age and previous preparation of those who are pursuing this course. If the teachers in training are familiar with hand- work in the public school, Part I will be of imme- diate and primary interest and consideration for them. At the close of each of the first seven chapters assignments are made both in more extensive reading on the subject-matter of the chapter and in certain specific pieces of expression work to be wrought out by the members of the class. Thus even if a beginning is made with Part I the class will be engaged in practical work from the outset. At the close of study of the seven chapters thus arranged, the sessions still remaining should be devoted to the other types of handwork not yet covered, as explained in chap. viii. The possi- bilities in this field are without limit. The class itself should decide how many of the suggested kinds of expression work shall be taken up for Preface xiii actual practice in the teacher-training course on handwork. The supplementary readings are of necessity apphcable to the discussion only in part, as the field covered in these discussions is very large and the specific topic of this manual is as yet somewhat new. If the books are not available, the supplementary reading is not essential to the use of the manual. Certain preliminary questions will be raised in the minds of all who thoughtfully face the matter of the generous employment of handwork in our present rehgious education. The first question is that of time in the Sunday-school hour. Two or three answers may suggest possible solutions. One method is to plan a small amount of work for the few minutes that can be allotted to it during the Sunday-school hour, taking care that that small piece of work shall have vital interest for the pupils and at the same time be a part of a unit to be worked out in a series of Sunday-school periods. A larger solution of the question is that of a special session for expression work, perhaps as an after- noon exercise, if the regular Sunday-school session is a morning one. Some classes have found it possible to lengthen their period each week in order to give a- half-hour to this important con- tribution to the life of the child. A third solution may be found in the fact that much of the hand- work recommended herein belongs fundamentally xiv Preface to a week-day task. The teacher may profitably keep in touch with the members of her class during the week by calling them together for a social hour of personal contact while the handwork for the Sunday lesson is wrought out. In those advanced Sunday schools which are providing class work for children during the church service the hand- work is an admirable form of educational activity. A second problem that will suggest itself is that of the expense. To this there are also several possible answers. The pupils may be able to bear the cost of their own handwork material; a special fund may be created by the Sunday-school board for this purpose; a third and better suggestion is that of the use of inexpensive materials within the reach of most church communities. Discarded magazines, covers of catalogues, broken panes of glass, blank pieces of paper, the back of unused wall paper, cardboard from pasteboard boxes, etc., can be collected, especially from those families in which there are business men to whom so much advertising matter constantly comes. The third problem is that of trained teachers. Very often the teacher of handwork in the pubHc school may be available for similar service in the Sunday school. But it is quite possible for earnest persons with high-school training to fit themselves for handwork instruction. It is the purpose of this manual to lay out a course, theoretical and Preface xv practical, to accomplish this end. The course may be followed either in an individual church or in a community training school. Let training classes be formed consisting of those already teach- ing Sunday-school and mission classes and of others who would be glad to study to fit themselves for the supervision of handwork alone. The instructor of the teacher-training class need not be one who has mastered all the kinds of expression work available for use in religious edu- cation. She can profitably enhst the services of a half-dozen others who have had preparation in this w^ork or each of whom will select some one or two activities and with the aid of textbooks become proficient in them. Helpful texts for this are suggested in the bibHography. This manual may well be used in preparation for activities in boys' and girls' club work. The handwork problems to be worked out may be of greater variety than those to be used for the Sabbath time only. The vacation Bible schools can advantageously use the plans of this manual for much of their expression work. Special acknowledgment should be made to the students and workers of the Cincinnati Missionary Training School who have assisted so largely in the practical part of this manual. CONTENTS PART I. THE TEACHER AND THE SUBJECT :hapter page I. The Presentation of the Subject ... 3 §1. TheProperPlaceof Expression Work; §2. The Necessity of Self-Expression; § 3. The Impulse of Creativeness Assignment of Handwork: The Making of Enve- lopes and Portfolios II. The Relationships of the Subject ... 10 § I. Religion and Outer Conduct; § 2. Religion and the Fine Arts; § 3. Religion and Industrial Arts; § 4. ReHgion and Vocational Interests Assignment of Handwork : Bookbinding III. The Vision of the Teacher in Relation to Handwork 19 § I. The Ideal of the Religious Educator; § 2. Reli- gious and Secular Education Assignment of Handwork: Paper-Cutting and -Mounting IV. Laws of Education as Applied to Expres- sion Work 24 § I. Relation of Theory and Practice; § 2. Sensa- tional and Creative Activity; § 3. Vital Interests. Assignment of Handwork: Paper-Tearing and -Mounting xviii Contents V. The Preparation of the Religious Edu- cator IN Expression Work 30 § I. Acquaintance with the Fine Arts; § 2. The Use of Art; § 3. The Representation of Jfrt; § 4. Construction Work Assignment of Handwork: Construction Work PART II. THE PUPIL AND PHYSICAL EXPRESSION VI. Expression W^ork Applied to the Develop- ing Stages of Life 39 Interest, ability to be cultivated and work to be given for: §1. Kindergarten; §2. Grades I, II; §3. Grades III-V; §4. Grades VI- VIII; §5. Adolescence. Assignment of Handwork: Papier-Mache Maps VII. Suggestions for Expression Work in the Sunday School 46 § I. For Kindergarten Children; § 2, For Primary- Children; §3. For Later Childhood; §4. For Adolescence Assignment of Handwork: Sand Maps VIII. Detailed Suggestions for Expression Work 51 §1. Card-Sewing; §2. Paper-Cutting; §3. Sten- ciling; § 4. Picture-Tearing; § 5. Picture-Coloring; § 6. Paper-Folding; § 7. Stick Printing and Block Stencihng; § 8. Coping Saw Work and Whittling; § 9. Basketry; § 10. Trays and Fancy Boxes; § II. Clay-]Modeling; § 12. Construction Work; § 13. Map-Modeling; § 14. Art Work; § 15. Writ- ten Work IX. Permanent Form for the Hantdwork . . 118 §1. Envelopes and Portfolios; §2. Bookbindings Books for Reference 136 PART I. THE TEACHER AND THE SUBJECT CHAPTER I THE PRESENTATION OF THE SUBJECT §1. THE PROPER PLACE OF EXPRESSION WORK Have I been sure, this Christmas Eve, God's own hand did the rainbow weave. Whereby the truth from heaven slid Into my soul ? The Psalmist emphatically states that "the heavens declare the glory of God and the firmament showeth his handiwork." In this he asserts that the physical, material universe may have for man a spiritual meaning if he interprets it aright. There is always the possibiKty of that which is discerned by the senses having no spiritual sug- gestion. One may find, on the other hand, in a physical sense-experience an inner spiritual mes- sage. Browning says In a thunderclap Where I heard noise and you saw flame, Some one man knew God called his name. In the fear lest the interpretation may be gross, should God refrain from creating things? His sunsets, flowers, mountains, seas, and towering forests are created things that may give an inner meaning to Hfe. 3 4 Handwork in Religious Education The problem of the educator is: If truth, espe- cially spiritual truth, or rehgious facts are repre- sented by material things, will the truth be the more discernible or the more hidden ? One recalls that in the history of the Christian church the image, the beautiful picture, the crucifix have sometimes rather kept the worshiper from obtain- ing a clear sense of the divine than aided him in his spiritual Hfe. Yet one remembers also that all reHgions have used the material representation of the divine — the tree, the sacred stone, the carved image, the ark, the cross. § 2. THE NECESSITY OF SELF-EXPRESSION Perhaps some basal facts of life may guide in the understanding of this problem. Every individual faces the necessity of self-expression for the sake of the development of his own life. The primitive peoples were led to the invention of a language by their impulse to express their thoughts to one another. First they used gestures with accom- paniments of sound, then words as symbols when the object to which they desired to call attention was not present to view. Among more advanced peoples this led to the conscious cultivation of a language for the sake of full self-expression. Along with the development of sign language was the drawing of crude pictures upon stones and bowlders that men might communicate with one Presentation of the Subject 5 another by the reproduction of the object of thought. Afterward this reproduction gave place to the representation of a truth by some symbol. These means of self-expression became not only evidences of development, but in turn the largest factors of progress, until it has been common for us to judge a nation's spiritual attainment, as well as its civiHzation, by its language and its art. It is apparent, then, that every individual, as well as every people, must use symbols for self- expression or self -interpretation. Equally true is it that rehgion, the most vital and spiritual part of the individual or of the nation, must avail itself also of symbolism for the sake of self-expression and interpretation. One of the most difficult things about religion is to make spiritual con- ception concrete enough for the comprehension of the average man. Perhaps the incarnation of Christ was in part God's effort to make the divine spirit concrete to human comprehension. § 3. THE IMPULSE OF CREATIVENESS A second fundamental fact will help in defining the place that symbohsm or physical representa- tion must have in rehgious education. This fact is the impulse of Kfe to create something expressive of itself. Even a child desires to ''make some- thing." In this instinct man seems to be most akin to the divine Creator of whom it is said, ''In 6 Handwork in Religious Education the beginning God created." This impulse to creativeness does not belong to adult Hfe alone, for from earHest childhood there seems to be the con- stant desire to use materials for the making of some- thing that just suits the thought of the individual. In its highest forms this instinct expresses itself in music, art, and story. Is it not evident, then, that the proper use of a physical representation or symboHsm of even the deepest conceptions of the soul does not hide the spiritual, but aids in reveahng it ? REFERENCES FOR STUDY Kirkpatrick, Edwin A. Fundamentals of Child Study, chap, xiii, "The Expressive Instinct"; chap, xiv, "Development of Intellect." Haddon, A. C. Evolution in Art, "The Material of Which Patterns Are Made," pp. 74-199; "The Reasons for Which Objects Are Decorated, " pp. 200-305. ASSIGNMENT OF HANDWORK: THE MAKING OF ENVELOPES AND PORTFOLIOS It is well to prepare in the first lesson the means for protecting the handwork to be done. Let this session be given to the making of: I. Envelopes. — ^A suitable size for the fiUng of work to be mounted on cardboard is qJ X 1 2 J inches. Use as patterns the models given in Fig. 40, Nos. 1-5. Let the space within the dotted lines meas- ure 9JX12I inches. Fold on the dotted Hnes. Presentation of the Subject 7 It is well to practice first with newspaper. For permanent envelopes use the manila paper or the heavy wrapping-paper which can be purchased by the yard at almost any store using it. Strong wall paper is also suitable. Light-weight cover- paper, which can be purchased at any paper store, is very satisfactory. Have the pupils of the class get other patterns of envelopes suitable for this purpose. 2. Portfolios. — For the simple forms of port- folios note Fig. 41, Nos. i, 2, and 6. These are simple constructions of folded paper, decorated in harmonious colors. Ribbon is inserted if desired for tying. For the more elaborate form of port- foUos note the portfoHo P, Fig. 42, and the legal envelope L.E. just below. Construct the form P as follows: Cut two pieces of strawboard or card- board 9X12 inches, as indicated in P, Fig. 42, and six pieces for flaps. Note carefully in the picture the length of each flap. The width is not so material. Put the pieces together with cheese- cloth or super, allowing one-half inch between all pieces except those at the back, where one inch is allowed. Cut incisions for the braid. Insert this as indicated in the picture and paste the end on the inside. Make the outside of the portfolio of coarse linen or binder's cloth, leaving a one-inch margin all around. Fold this over and paste down on the cardboard. For the inside lining use a 8 Handwork in Religious Education piece of paper or any other material desired in a color harmonious with that of the outside material. Place the portfoHo thus far completed upon the lining and trace around it for pattern. Cut one- eighth of an inch within the markings. Paste the Hning in place, creasing carefully between the pieces of strawboard. The legal envelope form presents the problem of the folded corners. The folded paper inserted to give width to the portfoHo is constructed of one long strip of paper, glued securely between the large sheets, forming the sides of the envelope. The process for the legal envelope is as follows: Cut a piece of heavy paper 12X17 inches and three pieces 9X12 inches. Cut a strip of the same paper 2IX30 inches. Fold this piece in half lengthwise, then divide each half into three equal parts, making three double folds 30 inches long. Crease at a distance of 9 inches from both ends to fit the corners as shown in the figure. Crease the folds carefully. Round out two of the 9X 12-inch pieces to produce the pocket effect, paste one on either side of the top fold of the creased paper that is to be inserted to give extension to the pocket. Paste the other side of the creased paper between the third 9X12 piece and the 12X17 piece. This will give double thickness of the paper on both sides of the envelope. If the envelope is to be tied with tape, insert the tape between the last Presentation of the Subject 9 two sheets pasted together previous to pasting them, cutting incisions in the 12X17 sheet one- fourth inch from either side of the pocket part, for the drawing out of the ends of the tape on to the right side of the envelope. Crease the flap of the envelope over and tie in place. The more difficult portfolios, as illustrated in Fig. 41, Nos. 4, 5, and 9, are made as described in chap, ix, pp. 122-25. Let the more advanced pupils in handwork prepare the more difficult forms of portfolios. CHAPTER II THE RELATIONSHIPS OF THE SUBJECT § I. RELIGION AND OUTER CONDUCT Religion has always included within itself both the inner spiritual life and the outer expression of it. Well known is the injunction of the Epistle, *' Faith without works is dead." In this day the goal of religion is being interpreted more and more in terms of the expression of the inner experience in a full outward life of ethical con- duct and service. The more vital the inner ex- perience, the more will it regulate the individual's actions and attitudes of faith in God's plans for himself and for the world, the more it will make right one's human relationships in his conduct toward others, his willing service in their behalf, and his spirit of fellowship. Thus what is know^n as civiHzation, which is the outer expression of the advancing life of the race, has direct relation- ship to the spiritual ideals and experiences of men. § 2. RELIGION AND THE FINE ARTS Rehgion and the fine arts have had a marked relationship to one another. Out of the strains and crises and joys and triumphs of life art arose Relationships of the Subject ii to record the experiences, and religion to interpret them. The religious dance and festival called again for the display of those decorations and adornments that marked the past experiences of the people and the triumph of the victor. Among primitive men the religious symbol or totem became an artistic design of the group, to be hung in amulet form about their necks, to be painted on their bodies, to be woven into their baskets, and to be carved on the stones of their dwelHngs. Thus art and religion were inseparably united with the emotional Hfe of a people and were used to express that emotional life. In the times when life became monotonous because the chase and war and calamity were past experiences, the reli- gious ceremony reinstated those emotional delights as they were recalled and re-enacted, and art reproductions brought back the sense of excite- ment. Thus together religion and art saved life from some of its drudgery. As life became more civilized the emotions of struggle, of conquest, and of triumph gave place to those of peace, quietness, trust, resignation, and devotion as the ideals of rehgion. With that change in religion's point of view came a corresponding change in art repro- ductions, which always seek to portray life in its deepest meanings. In their emotional appeals, too, both religion and the fine arts appropriate as their own the realm 12 Handwork in Religious Education that is beyond sense-perception, that of the mys- terious and not yet apprehended. These two elements of Kfe are thus similar in their basal characters. Art does not record the details of nature as do the lenses of a camera, but, taking nature for its subject, interprets it in the Hght of an inner ideal which has for itself unity of form, color, and illumination. In like manner, rehgion looks not at the actual, as the senses discern the actual, but ever interprets the universe of things and experiences in terms of moral values and reli- gious ideals. The artist and the religionist in this process become ideahsts, seeing unity and harmony within the apparently dissimilar and inharmonious. In the history of art and religion each has been the handmaiden of the other. Art has in large meas- ure sought from rehgion its subjects, while rehgion has used art to estabhsh its control and to find expression for its inner experiences. The master- pieces of the world of art are the portrayal of rehgious scenes, the expression of qualities of char- acter recognized as specifically rehgious, the con- struction of cathedrals expressing art ideals of the age, and the decoration of sacred places and of the sacred vestments of officiating priests. So may it be said of the fine arts, that more nearly than any other element of human life or experience they approximate the deepest conceptions and ideals of rehgion. Relationships of the Subject 13 § 3. religion and industrial arts Let us note the relation of religion to industrial arts. This is the day of emphasis upon manual training. Is there any relationship between this manual work and the innermost soul of man? ReHgion urges as its goal the individual's mastery of the world in which he Hves and his overcoming of opposing physical forces by the spiritual ideal within, emphasizing continually the necessity of his conforming to the laws of the physical world for the attaining of his spiritual ideal. Industrial art has always as its goal the mastery of material by the idea the worker has in mind, with the neces- sity of his conforming to the laws of that material, whether the material be paper, wood, clay, or the choicest paints of the artist. Again, rehgion insists upon the interpretation of Hfe, even its greatest hardships, in terms of an inner, jubilant gladness, rather than in terms of drudgery. Industrial arts hkewise would inter- pret the monotonous in the industrial hfe of our day in terms of an inner creative gladness, seeking expression through materials. In the high speciali- zation of our present factory system where an individual does but one small part in the creat- ing of a product, the manual training which he has received will make it possible for him to interpret his task according to his inner 14 Handwork in Religious Education consciousness of aiding in a creation which gives its own meaning to all the tedious series of movements. Once more, religion centers in the ideal of the individual's contributing something to the common good, that something to be expressive of what is most essential and deepest in life. Industrial art to a degree shares the same ideal, insisting that the individual shall contribute something to the common effort and be able to present some pro- duction, even though it be small, that will express himself. The pupils may all work according to a given general pattern, but the details, especially the decorations, may be the individual's own. Industrial art is emphasizing to all the necessity of a task as central to life, the ability to do some given thing, the acceptance of a definite work. This, too, is rehgion's point of view. Each indi- vidual must have a work to do and the sense of the divine assignment of life to that task as his mission in and to the world. Perhaps the largest contribution of industrial arts to the religious consciousness is in emphasizing a new fellowship with the Creator, a sense of self- hood as representing in a very vital way the divine image. In the consciousness of fellowship with the Creator joy comes, not from receiving something to be enjoyed, but from seeking continually to give expression to the inner self. Relationships of the Subject 15 One other relationship may be noted. The task of rehgion is to make the truth, ever present in human Ufe, remembered for the time of an emergency. In the reahn of industrial arts an idea represented, though it be only in terms of a child's rudely constructed piece of handwork, gives to him a tangible reminder of the truth thus represented. As in all representation, care must be taken that the symbol shall not supplant the truth, centering interest in itself rather than in that which it represents. § 4. religion and vocational interests Rehgion that is vital to all of hfe and has con- nections everywhere has a real relationship to the industrial and vocational interests of the race. It has ever tended to exalt the common, the indus- trial Hfe of man. Christianity, always boasting of a certain carpenter's shop in Nazareth where the Son of God toiled, is one with the struggHng hfe of man. It is today seeking to enter into co- operative fellowship with the working-man. The drudgery of the present circumscribed physical labor to which men must devote a hfetime needs pre-eminently the idealism of the religion of the Nazarene. His words have potent meaning in the hfe of the industrial toiler: ''Be of good cheer. I have overcome the world." Any effort that will seek to connect religion from earliest childhood 1 6 Handwork in Religious Education with the thought of ph3?sical work will interpret Christianity aright. Thus reUgion is fundamentally one with the inner goal of all physical expression, whether in the form of a material production or in that of an artistic creation. REFERENCES FOR STUDY Ross, Edward Alsworth. Social Control, chap., xx, "Art," Eddy, Arthur Jerome. Delight the Soul of Art, chap, iv, "Delight in the Symbol''; chap, v, "Delight in Labor." assignment of handwork: bookbinding As a matter of historical interest collect books of as many rare bindings as possible from the com- munity. It might be well to have some one person give in a ten-minute discussion the history of bookbinding. Have the different members of the class prepare for handwork the various prob- lems in bookbinding. Note Fig. 41, where there are three samples of books for the mounting of pictures, paper-cutting, or paper-foldings, samples Nos. 8, 10, and 15. No. 8 is clothboard, cotton- batting padding being used between the cloth and the clothboard. Cover-paper Knes the reverse side. Glue the cloth on the reverse side of the cover the inch and a half in which the cloth pro- jects. Loose leaves, in which three holes for the tying have been made, are inserted between the Relationships of the Subject 17 covers, and the book is tied together through the eyelets, the binder's stitch being used, as described under ''Book-Sewing," p. 126. The string for tying is made by twisting together strands of heavy silk in colors to match the cloth of the book cover. No. 10 is the problem of loose leaves through which the holes for sewing have been made with an awl. Rafha in suitable color is used in place of thread. No. 15 is of bristol board with gray cover-paper leaves. For description see p. 135. Let some prepare for loose-leaf binding, as suggested in chap, ix, pp. 126-28, while others prepare for double-leaf binding, as described in the same chapter, pp. 128-34, and illustrated in Fig. 42, samples A, B, C, and D for tape sewing, and samples E and F for the imitation of machine sewing and the use of the super in binding. Have some mem- bers of the class prepare to illustrate the steps in the process of the more elaborate cover, as repre- sented in Fig. 42, I-IV. If possible, have a book bound with Hnen covering the clothboard or straw- board. It might be well to divide the class so as to have one part demonstrate the sewing and the other the cover-making. Let someone especially gifted present a graded course in bookbinding suited to the various ages of the children. It should include (i) simple covers tied with fancy cord or ribbon; (2) the use of wire staples holding the loose leaf or the double leaf into simple cover- 1 8 Handwork in Religious Education paper covers with a strip of cover-paper or binder's cloth glued up the back to hide the wire staples; (3) simple sewing with binder's thread, using the binder's stitch in place of the wire staples; (4) loose-leaf binding with stiff covers, using the simple one-piece cover of Fig. 42; (5) the more elaborate cover as shown in Fig. 42; (6) the sewing in imi- tation of machine work of Fig. 42, with the use of the super; (7) tape sewing, as illustrated in Fig. 42; (8) leather cover used as binder's cloth is used, with strawboard covers (special care must be taken to shave off the inside of the leather at the corners and edges if a heavy leather is used); (9) soft leather binding, preferably with double- leaf sewing and the super, for the inside of the book. Perhaps even more elaborate bindings can be presented. CHAPTER III THE VISION OF THE TEACHER IN RELATION TO HANDWORK § I. THE IDEAL OF THE RELIGIOUS EDUCATOR We are in the day of the preparation of the reli- gious educator. The salvation of the soul of the piipil is no longer regarded as the completed task of the teacher; the demands of the whole per- sonaUty must be met. One of the most prominent outstanding results of this radically changed point of view is that every teacher of youth must go to school himself to the twentieth-century ideals and then must submit to the drudgery of the mastery of details wherever demanded. A marked advance has been apparent in several different fields with a corresponding effect upon education. New ideals have gradually spread from the more scientific psychology to the science of child study, from the science of sociology to scientific social service, from a critical and his- torical study and presentation of the Bible to the ethics of Christian living. Last in the advance is the demand for what is being styled the concrete expression of the individual, or handwork. As yet the average Sunday-school teacher knows little of this latest demand in her own preparation, 19 20 Handwork in Religious Education and, if she undertakes handwork, she draws largely upon the pupils' power to adapt their pubhc- school instruction to the Sunday educational work. The appeal of the ideal of self-expression, of creatorship, of forcing upon materials the expression of the highest conceptions of life, has had little consideration from the teacher of rehgion, although it is as old as Pestalozzi and Froebel in secular education. § 2. RELIGIOUS and SECULAR EDUCATION The modern rehgious curriculum has certain analogies with that of secular education. The central topic of each is the study of the child and the adaptation of truth to his need and growth. This has been customarily a study of the normal child carefully dissected, with the proper treatment prescribed for each state or condition. Thus he has been viewed objectively and almost statically, at least within certain clearly defined periods, as childhood, adolescence, etc. His action in a certain field at any one moment or period was noted, described, classified, and his need dog- matically stated. In contrast is the present study of the child as an organism reacting as a unit, with every power of personality active in every reaction to his environment and outer stimulations. And more, the child is studied from the standpoint that his behavior in any act has a meaning in his entire The Teacher and Handwork 21 mental life. The sum-total of his mental pro- cesses that preceded the act and that come out of the act must be known before its meaning can be determined or its qualities set forth, and surely before the proper treatment can be applied. The Hindu lad's hiding from his father his act of dis- regard for the law of caste must not be dismissed with the word "deception," but the act must receive consideration as it is related to a possible new vision of life and human brotherhood. The second analogy is relative to the method of training the child. In both fields of endeavor the child is being viewed as a creator, creating his own world and having the right to the untrammeled development of his own personality in the vast undertaking. This does not prevent him from entering actively into the heritage of the race, for in his very endeavor to grow a personality he uses as elements of growth the life that surrounds him. When the rehgious educator has planned his curriculum with this attitude toward child life, the child's salvation will not mean his passing through certain emotional experiences alone, but his entering with glad co-operation into oneness with the divine world in which he is placed, seeking to realize in himself the divine plan and thereby the divine "abundant life." The emotion of such a child's religious life will not be dependent upon exciting experiences, but upon a constant, deep 2 2 Handwork in Religious Education fellowship with the Creator who has expressed himself in the human soul and in the physical, material universe in which the child grows his soul. The social emphasis of our day is resulting in the gradual elimination of class-consciousness and separateness and the stressing of human sym- pathy in the deeper understanding of the hfe men hve. The brotherhood of human toil is the great leveler of society and constitutes its bond of one- ness. The child who is taught to use his hands creatively, to make even in weak imitation iu manual arts what men spend a lifetime in doing, will enter with deeper sympathy into a common consciousness of human hfe. From whatever class of society he may have come, he will feel the meaning of work if he is taught to be a worker. He will have a deeper appreciation of the efficient workman and his contribution to his day, whether it be a piece of construction, an artistic pro- duction, or a literary creation, after he himself has attempted even in a small way the doing of those tasks. Many kinds of handwork call for the co-operation of several pupils, and here again is learned the social lesson. The vision of Hfe's goal is of men as workers together with men and as ''workers together with God." REFERENCES FOR STUDY King, Irving. The Psychology of Child Development, chaps, i-iii, xvi. The Teacher and Handwork 23 King, Henry Churchill. Rational Living, "The Unity of Man," chaps, iv-viii. James, William. Talks to Teachers on Psychology; and to Students on Some of Life's Ideals, chaps, iii-v. ASSIGNMENT OF HANDWORK: PAPER-CUTTING AND -MOUNTING Assign to each member of the class the working out of a different problem, using the patterns of Figs. 3-5, 7, 10, and 11. Encourage the use of original patterns. Let these be grouped for posters, as in Figs. 4 and 5, or mounted in a book, as shown in Figs. 9, 10, and 11. Have some of the pictures colored with crayolas or water colors, as directed on pp. 66-69. Mount some of the cuttings with a Crayola scenic background, as shown in Fig. 10. Some pupils may be interested in the working out of a series of illustrations for some Bible story to be continued through several lessons, as shown in Figs. 9 and 16. Special attention may be given to different methods of mounting: (i) the mounting of a single picture upon a card of harmonious color and in pleasing proportions; (2) the grouping of the cuttings for a poster-effect; (3) the mounting behind glass with passe-partout binding, as for any framed picture ; (4) the arran- ging in sequence upon leaves to be bound into a book. CHAPTER IV LAWS OF EDUCATION AS APPLIED TO EXPRES- SION WORK § I. RELATION OF THEORY AND PRACTICE The science of education has had its long and weary discussions relative to the proper relation- ship between theory and apphcation, or between theory and practice. The educational peace- maker will insist that an alternation between theory and apphcation is necessary for the calhng forth of the largest power of assimilation. This alternation may be expressed very accurately in the thought of a circle, where theory stimulates to the practical application of it and the practical apphcation again makes the theory vital, both being primary as well as both being secondary. If this conception is true educationally, then both are equally cultural, for they are both indispen- sable. The twentieth century is insisting that the education given in the schools shall not be an end in itself. The thought is directed once more to the necessity that education shall prepare for a full life, which means not only the ability to con- tinue better thinking, but also the abihty to Hve Hfe out in the everyday demands of a physical world. This educational conviction is producing 24 Laws of Education in Expression 25 the present emphasis upon professional and vocational courses in the later years of our public- school system. Education must result in adjust- ment to all the relationships of life and in the abihty to meet life's demands industrially as well as other- wise; and religion undergoes a similar expansion. It must mean something more than ability to dream, meditate, and withdraw one's inner self from harassing problems; it must mean the vital relation of the inner self to every factor of life for the sake of the right employment of the mate- rial world for the growth and sustenance of life. § 2. sensational and creative activity Interest in the physical, the material, is of two kinds in the life of every individual. There is the interest due to a wide variety of materials, and hence many stimulations. This is well expressed in the mania for travel and the desire for pleasure, where there is an increasing demand for larger stimulations and a greater number of them. Soon there comes a failure to react to moderate stimu- lations, and hence a loss of keenness of enjoyment. So the activity of the mind of the child may be produced by the impact of stimulations upon it. This is seen in the attempt to give him constantly new objects of interest. The danger is that very soon he will be satiated and the effort will have lost all interest to him. The second interest in the 26 Handwork in Religious Education physical is that due to many interpretations and experiences derived from a narrow range of mate- rials. Here the activity of the mind is due to the challenge of the materials to the creative power of the mind. The result is a healthful appetite for intensive study and investigation. The chance for self-expression holds the interest continuously, life ever demanding a larger creative opportunity. The distinction between the two, the sensational activity and the creative activity, is well illus- trated by the differences between the interest the child takes in a purchased doll-house, complete in all its furnishings, and the materials for the con- struction of one of his own under wise supervision. The former appeals only by what it is, the second appeals to creative imagination. The latter there- fore opens a much larger world to the child life in its stimulations, its interest, its ideal possibihties, and its creative demands. § 3. VITAL interests Perfected education requires the abiHty to dis- cern parts and their relationships, but also abihty to perceive the whole. Well known is the tendency of childhood to tear apart the plaything to see what makes it go, and quite as well known the tendency to attempt to put things together in the effort to make '^something." Expression work satisfies the desire of the child to know the parts Laws of Education in Expression 27 that compose the whole, not by dissecting or destroying, but by constructing. The goal, how- ever, places as the ideal the attaining of the wholeness, the reahzation of the desire for the completed, the unified. As thought has always sought for itself muscular expression, finding its satisfaction in objectifying itself, so the rehgious idea is finding for itself largest satisfaction in the objectifying of itself in muscular reactions and responses, reahzing itself in an ever-new civihzation of physical environ- ment and social service. The early successes of the child in objectifying his thought, even in a very small way, is a worthy beginning of this great Hfe-process, and to aid in the work is a legitimate function of the Sunday school. The abihty of the mind to retain what it expe- riences, that these experiences may function in subsequent ones, is dependent upon the number of relationships the experiences have had in the mind. One seeks to recall a certain person's name. In the attempt he thinks of how the person looked, of the sound of the voice, of the things the person was doing, of the appearance of the name of the person when written. The memory func- tions according to how many experiences the indi- vidual has had relative to the matter in hand. A spiritual truth will have power in a life in proportion as that truth has many relations to 28 Handwork in Religious Education experiences in that life. The truth heard, spoken, read, written, retold, and expressed in some material, physical form will be more compelling than the truth that is merely heard. A visual or muscular experience in which personality has centered itself relative to a spiritual idea will of necessity make that idea more real and give it the ability to function more vitally in hfe. It will also mean the relating of the idea to practical living. REFERENCES FOR STUDY Henderson, C. H. Education and Its Larger Life, chap, iv, "Organic Education." Brown, G. Baldwin. The Fine Arts, review chap, i, "Art as Self-ExternaHzation," pp. 35-64. Froebel, Frederick. Education of Man, chap. i. ASSIGNMENT OF HANDWORK: PAPER-TEARING AND -MOUNTING Use the patterns as suggested for paper-cutting, pp. 53 if., 64 if. Suitable paper for this work can be procured from the Milton Bradley Company, Springfield, Massachusetts, from the houses carry- ing their supplies, or from any good paper store. Let care be taken that paper easily torn is used. Problems similar to those suggested under paper- cutting are appropriate for the paper-tearing. Similar methods of mounting are also appropriate. Note especially the story illustration in sequences as shown in Fig. 16. Missionary stories may be Laws of Education in Expression 29 taken as subjects for illustrative paper-tearing in sequence. A child's experience, such as his attend- ance at Sunday school, may be told while illus- trations are being torn from paper. The trees and birds he saw on his way, the people he met^ the church building, the plants in the Sunday- school windows, the song-books and Bible, the illustrations of the lesson told, the kindergarten circle, the bell of dismissal, the return home, etc., may be subjects for illustration. CHAPTER V THE PREPARATION OF THE RELIGIOUS EDU- CATOR IN EXPRESSION WORK In this day of many systems of religious edu- cation the teacher needs to have a comprehension of the field of expression work apart from any of these systems. It will then be possible to apply scientifically the proper kinds of work to the task in hand. All of these systems, such as the *^ Inter- national Sunday School Lessons," the *' Com- pletely Graded Series," the '^Constructive Studies," etc., are now putting emphasis upon handwork. A very good preparation for the teacher who plans to teach according to any one of these systems is the actual study of the lessons and the actual per- formance of the handwork suggested. In each case it will present a comprehensive system. In addition to the handwork suggested, the teacher in training should supply original plans of hand- work for each lesson. § I. ACQUAINTANCE WITH THE FINE ARTS A necessary preparation of the teacher for any line of expression work is that in relation to the fine arts. A really artistic basis is essential to the 30 Preparation of Religious Educator 31 doing of handwork lest the creations be inhar- monious, crude, or even grotesque. The reading of one good book. on art, such as The Fine Arts by G. Baldwin Brown, will usually meet the demand. A teacher can afford in her preparation to put special emphasis upon this fundamental phase of all expression work. It will give character to all the handwork undertaken. To this end certain topics are important for study. Consider first the necessity of acquaint- ance with the fine arts. This will include the his- tory of painting : the study of (a) artists, their Hves and art contributions; ih) rehgious conceptions and interpretations of art; (c) the uses made of painting by religion, both in the history of the church and in the present day; {d) the great art productions, the story of their composition, and their history; {e) the uses of specific pictures for present rehgious education. It will also include the history of architecture: [a) the plan and decoration of religious structures; {h) the location and history of great cathedrals; (c) the conceptions expressed in architecture; {d) the great architects of the past; {e) the stories of the laborers upon the great rehgious edifices. In addition to painting and architecture the history of sculpture will have a conspicuous place: (a) its use in religious edifices; {h) its religious representations in pieces of sculpture; (c) sculptors and the story of their 32 Handwork in Religious Education work. The acquaintance with rehgious art should include also a knowledge of the art collections illustrative of Bible stories, scenes, and ideas, how to use them, and where to procure them. § 2. THE USE OF ART There is the opportunity, first of all, for the decoration of the schoolroom by the use of pictures and blackboard art work. Loan collections of sculpturing and pictures may be secured and put on display. The teacher should know what a community affords in art productions that could be used in a room for religious education. Then art may also be used for lesson illustration. Fihng- cases for art reproductions mounted upon paste- board are proving most satisfactory. (Many magazines afford excellent art pieces for such a purpose.) From such a collection in the Sunday- school room may be taken those especially illus- trative each Sunday of the lesson to be presented. Then there is the use of art reproductions in con- nection with the handwork among the pupils (these copies of pictures can be obtained for the price of from one-half cent to five cents each): (a) to be put into the hands of the pupils so that the Bible stories when thus illustrated may be more concrete; (b) to illustrate Bible passages cut out or copied by the pupils; (c) to illus- Preparation of Religious Educator 33 trate the pupils' handwork; (d) to illustrate some religious theme. § 3. THE REPRESENTATION OF ART The teacher should know the field of represen- tation of art. The field of drawing is very rich, and for the work that is necessary it can be entered by the average Sunday-school teacher. The draw- ing on paper to be made into booklets or on the blackboard may represent {a) some nature fact for moral instruction and rehgious stimulation, such as botanical forms, flowers, shocks of wheat, etc.; ih) some beauty forms to call forth religious, aesthetic reactions, such as geometrical forms illustrative of stars, etc., as well as the conven- tionaHzed representation of fruit and flowers; (c) some interpretative landscape or marine scene, such as a city, a sailboat, a stormy sea; {d) a symboHc representation, such as the cross, the shield, the crown, etc.; {e) illustrations of his- torical scenes, such as the Three Wise Men on their pilgrimage, the shepherds on the hillside, Abra- ham's altar under the oak, etc. For the more advanced work there should be the knowledge of painting. Color adds only to the power of stim- ulation and pure representation. Black-and-white pictures usually seem to serve quite as well as colored ones. 34 Handwork in Religious Education The religious educator will be able to use to great advantage a knowledge of designing. There is {a) the decorative work (this may be blackboard decorations, posters, book-covers, and fancy letter- ing) ; {h) illustrative work for written productions, histories, Bible selections, hymns, stories, hves of missionaries and their mission work, and social- service activities; (c) rehgious symbols, mono- grams and conventional forms for pennants, pins, costumes, class or school stationery, decorations of the room or church. § 4. CONSTRUCTION WORK The religious educator must of necessity in these days understand the field designated as con- struction work. There will be {a) the making of maps, papier mache, sand, plasticine, etc., and their coloring; {h) mounted paper- tearing and -cutting, e.g., styles of oriental houses, utensils, tools, trees, cities, also the people and things illus- trative of religious stories; (c) modehng work of oriental houses and temples, reproductions of utensils, etc., also of things representing the habits and customs of people of Bible times or of mission lands (these may be made of clay, cover-paper, raffia and reed, or wood; this field of work may be closely related to the manual-training depart- ment of any educational institution) ; {d) basketry (the reed and raffia may be used for the repre- Preparation of Religious Educator 35 sentation and reproduction of many customs and objects and for the making of prizes or gifts); {e) bookbinding to put the work done into per- manent form, or finer binding to give aesthetic significance to the work; (/) the framing and mounting of pictures used (the frames may be of raffia or reed, of paper construction, of passe- partout binding, of leather, or of wood). It need scarcely be said that if this work is mastered by the religious educator it will not only have significance in fitting him later to be the guide of his pupils, but will mean very much for the enlargement of his own life. REFERENCES FOR STUDY Puffer, Ethel D. The Psychology of Beauty, "The Beauty of Fine Art," pp. 91-148. Brown, G. Baldwin. The Fine Arts, pp. 100-409. ASSIGNMENT OF HANDWORK: CONSTRUCTION WORK Using Figs. 21-24, model with construction paper a building representative of the life of Bible times or of the hfe of mission fields. For sugges- tions note directions under ''Construction Work," chap, viii, paragraph No. 12. In Sunday-school journals, Bible atlases or commentaries, and mis- sionary magazines find designs for original con- struction. If such work is of special use to the children to be instructed later, let there be the 36 Handwork in Religious Education preparation of the rooms essential to the proper arrangement of a household. Note as a basis for such construction Figs. 27 and 28. For the glue use Le Page's glue already prepared, or use powdered glue which can be purchased by the pound at any paint and glass store and at most drug stores. Make the glue of the desired thick- ness, using water and melting the glue, preferably in a double-boiler glue-pot. PART II. THE PUPIL AND PHYSICAL EXPRESSION CHAPTER VI EXPRESSION WORK APPLIED TO THE DEVELOP- ING STAGES OF LIFE Every period of life has its proper expression. This is determined by the interests characteristic of that period. The power of apperception, of assimilation, is dependent upon the suiting of materials to these interests. But this task is more than the fitting of the activity to the character- istics of the period to which the pupil belongs; it is the adapting of the activity to the individual's interests and ability. This adaptation must be made in the materials employed, in the use of those materials, in the goal to be set in the activity, in the judgment to be passed upon the results. We shall not expect geniuses, though there will be some real talent in any class of pupils. Motor-minded individuals will excel in the technique of physical expression, the sensory-minded in the meaning, the interpretation of that activity. The teacher must know what he can legitimately expect of pupils of a specific amount of training, but his knowledge must go farther: he must know the possibilities of the materials used. Hence teacher- training in physical expression must far excel the work to be expected of the pupil. 39 40 Handwork in Religious Education In order to indicate the work to be pursued with pupils of any given period of development, the interests, the ability to be cultivated, and the work to be presented, the following outhne is given: § I. KINDERGARTEN Materials other than those of pure art are more satisfactory for the kindergarten period. a) Interest: (i) Handling of material. (2) Changing forms as accompaniment of the pupil's changing thoughts. (3) Imagination basal. (4) Nothing intermediate between idea and result. b) Ability to be cultivated: (i) Free constructive activity. (2) Not imposed plans, not value attached to result. (3) Thinking naturally in art expression — tendency to express in symbols as well as in words. (4) Knowledge of simple forms and recognition of their representation. (5) Recognition of simple colors and their use for blocking in representations. c) Work to be given: (i) Free drawing with pencil — suggestions but not pattern — and free construction work. (2) Crayola-rubbed surfaces out of which figures are cut. (3) Coloring with crayolas within drawn patterns. (4) Coloring of prints. (5) Simple water-color washes. (6) Mounting of pictures. (7) Border designs — simple. (8) Simple paper-cuttings and -tearings. Expression in Developing Stages 41 § 2. GRADES I-II a) Interest same as above. A little additional value attached to results. b) Ability to be cultivated : Readiness to illustrate ideas however crudely — draw- ing used as a language. c) Work to be given : (i) Rapid use (molding) of materials, such as sand and clay. (2) Border designs as frames for pictures and paper- cutting. (3) Simple pattern pictures for crayola, blackboard, and water-color work. (4) Collections of colors, flowers, papers, etc. (5) Paper-cutting and -tearing and their mounting. (6) Simple paper-folding. (7) Beginning of work in wood and reed. § 3. GRADES iii-v a) Interest: (i) Not satisfied with transformation of material by imagination. (2) Results become important; permanency and use important. (3) Intermediate means of attaining results, the object of attention. (4) Organized activity (age of organized play). (5) Larger use of tools — skiU in use a matter of concern. (6) Desire to represent truthfully and to picture differ- ent effects. b) Ability to be cultivated: (i) Use of patterns, designs — to shape materials as predetermined. (2) Care and skill in use of tools — ability to express a given thought with increasing completeness. 4^ Handwork in Religious Education (3) Some intellectual control — thinking things out ahead. (4) Discrimination of colors. (5) Correct judgment of general proportions by the eye rather than by measurements. c) Work to be given: (i) Simple geometric relations of vertical, horizontal, and parallel as involved in simple drawings. (2) Rhythmic arrangement in border and surface pat- terns. (3) Pleasing arrangements within inclosed spaces, etc. (4) Bilateral symmetry and its methods. (5) Collection of samples for color-groups. Discrimination in sorting colors. (6) Arranging colors. (a) Complementary color-schemes. (b) Value schemes. (7) Appearance of objects in different positions. (8) Modification of natural forms for designs. (9) Interpretative images (type forms) . (a) Geometric relations. (b) Animal forms. (c) Plant forms. (d) Forms of rectilinear and curvilinear construc- tion. (10) Simple map constructions. (11) Coping saw work. (12) More difficult construction work. (13) Beginning of written-work creations. § 4. GRADES VI-VIII a) Interest: (i) Sustained purpose — a final end. (2) Accuracy according to pattern or idea, conformity to reality. Expression" in Developing Stages 43 (3) Interest in real life, deflection from school. (4) Sympathetic interest in art activities of others — historical and practical. b) Ability to be cultivated: (i) Use of drawing as a means of explanation and description. (2) Clear visual patterns. (3) Orthographic reading. (4) Rapid sketching. (5) Accurate scientific sketching. (6) Good taste in beauty of form and harmony of color. (7) Knowledge of art history and art as a vocation. c) Work to be given: (i) Geographical drawings and map-modelings. (2) Flower and plant shadow-pictures for foreshorten- ing and delicacy. (3) Blueprints (for nature-study). (4) Different arrangements of leaf, flower, or object drawn. (5) Matching in water colors the colors of plants, etc. (6) Balancing in design, also more bilateral symmetry. (7) Appreciation of demands and limitations of deco- rative work. (8) Perfect matching of color by mixing of water colors. (9) Development of intensity color-schemes. (10) Representation of moods-of-nature effects. (11) "Rapid descriptive sketches, well-constructed drawings, truthful records of observations." (12) Completed pictures in pencil, crayon, or water colors. (13) Careful construction work. (14) Advanced work in the crafts: bookbinding, wood- work, reed and raffia work. (15) Landscape sand-modeling. 44 Handwork in Religious Education § 5. ADOLESCENCE ( YEARS FOURTEEN TO EIGHTEEN) a) Interest: (i) A goal ideally conceived. (2) Vocational appeal and decision. (3) Social fellowship. (4) Love of the ideal. (5) Mastery over the lower, the physical. (6) Consecration to life objectively. (7) Inner religious meaning of life and its experiences. b) Ability to be cultivated: (i) Drawing from nature. (2) Copying of simple scenes of life and nature. (3) Artistic choices in the environing of life. (4) Fellowship with the beautiful of life everywhere. c) Work to be given: (i) More perfect execution of work done in the higher grades. (2) Vocational decisions in relation to artistic demands of personality, the attitude of idealism toward the daily tasks. (3) Manual-training work as recreation. (4) Cultivation of art expression for which one has special talent. (5) Fellowship with great artists, sculptors, and archi- tects of the world. (6) Mastery of craft materials. REFERENCES FOR STUDY Sargent, Walter. Fine and Industrial A rts. Coe, George A. Education in Religion and Morals, " Periods of Development," pp. 226-67. Dopp, Katharine Elizabeth. Place of Industries in Ele- mentary Education, ''Practical Applications," pp. 97- 173, 173-242. Expression in Developing Stages 45 King, Irving. The Psychology of Child Development, pp. 171-233. assignment of handwork: papier-mache maps Prepare the paper pulp as directed in chap, viii, paragraph 13. Assign the different countries of interest in mission- or Bible-study to the various members of the class. Let each have the story of some character or event connected with the country constructed ready for presentation to the class upon the completion of the map. Use Diamond dyes or water colors for the proper color- ing, to divide into provinces or to locate places or to trace journeys. A small section of a country may be prepared rather than the entire continent. For the making of the map and the mounting of it when dry, note the careful directions given under *' Map-Modeling." CHAPTER VII SUGGESTIONS FOR EXPRESSION WORK IN THE SUNDAY SCHOOL § I. FOR KLNDERGARTEN CHILDREN a) Cutting out pictures outlined: (i) Flower designs to be used for Sunday-school room decorations, blackboard borders, picture-mounting borders, etc. (2) Pictures for mounting, suggesting religious ideals or historic events, e.g., lilies for Easter; early- flowers and birds for the spring's coming; camels, star, and pilgrims for Christmas. (3) Symbolic designs, e.g., cross, dove, star. b) Picture-coloring of foregoing cut designs, illustrative magazine pictures, black-and-white pictures of specific religious character. c) Freehand cutting and later tearing of such as were cut from outline above. d) Card-sewing of symbolic religious designs, and animals important in Bible stories. e) Paper-folding: Beauty designs; little picture frames, in which to put half-penny Perry pictures or pictures cut from papers; objects mentioned in Bible, as houses, mountains, books, baskets, ships. /) Drawing: With colored crayons to represent some prominent feature of a Bible story. 46 Expression in the Sunday School 47 g) Construction : Simple oriental houses, articles of furniture in cover- paper; clay forms of fruits, animals, utensils. h) Kindergarten blocks for telling stories — construction. § 2. FOR PRIMARY CHILDREN (YEARS SIX TO NINE) The above lines but with more careful direction and more elaborate, also: a) Paper-cutting and -tearing. For story illustration, not only Bible stories, but reli- gious stories generally, e.g., illustrative cuttings repre- senting crucial events of Jesus' life: (i) Babyhood — stable and animals, shepherd's crook and sheep, camels and star and pilgrims, king and crown, city, mule. (2) Temptation and baptism — temple, bread, angels (Hoffman's used as type), dove, men (Hoffman's used here also). (3) Ministry — illustration of some parables and miracles, e.g., necklace with missing coin, money bag, ships and fish, water jars. (4) Passion Week — city and open gate, palm branches, lame people in the temple, grapes, cup, cock, gar- ments, crosses. (5) Resurrection— open tomb, Easter lilies. b) Picture-coloring and border designs: Pen and ink work, crayola work, and water colors, c) Mounting of pictures with aesthetic taste and suitable covers with decorations. Written- work decoration. d) Cutting of Bible passages and artistically illustrating with Perry pictures — suitable borders and decorations of cover. e) Construction: More elaborate and including houses, temples, etc., of foreign fields for missionary instruction. 48 Handwork in Religious Education §3. FOR LATER CHILDHOOD (YEARS TEN TO THLRTEEN) a) Many of above continued. b) Map-modeling: Papier mache, sand, plasticine, of Bible and mission lands. Location of places, routes of journeys, scenes of great events, present-day mission stations. c) Realistic scene constructions (may be in former period) : Sand table arranged to represent Bible or mission scenes, e.g., Hebron on the hill, oak trees, Abra- ham's tents and flocks, altars of stone, etc. (to be constructed as story is told) . d) Arranging of picture lives, e.g., a picture hfe of Jesus, using Perry or Brown pictures, cutting out Bible descrip- tions of these pictures, decorating, binding, tooling. e) Construction work: Models in cover-paper, wood, or raffia of such as temple, furniture, trees, houses, etc. A grouped scene made representing a locality or historic scene. /) Making of envelopes, portfolios, and binding of books to keep work permanently. Decorative lettering. Passe- partouting and framing of pictures. § 4. FOR ADOLESCENCE (yEARS FOURTEEN TO EIGHTEEN) a) Harmonies with picture illustrations, border designs, beautiful bindings, and cover designs. b) Compositions, printed, decorated, etc. c) Lives of authors, artists, song-writers, missionaries, philanthropists written, illustrated by purchased pictures and by design work and artistically arranged and deco- rated. d) Construction of models, going into the tool-work. e) Plans for special occasions, room decorations, black- board drawings, charts and maps, souvenirs to be given to pupils. Expression in the Sunday School 49 /) Art productions — perhaps only copies. Not all could do these. Throughout these periods blackboard work is used to good advantage; box- and basket-making for use on May Day, Christmas, birthdays, etc., can be made of increasing complexity and beauty; decorated invitations, programs, favors, souvenirs, reminders, and posters give opportunity for varying grades of artistic abihty. REFERENCE FOR STUDY Littlefield, Milton S. Handwork in the Sunday School. ASSIGNMENT OF HANDWORK: SAND MAPS The molding of sand maps affords great oppor- tunity for co-operative work among several mem- bers of the class. Let the general proportions be decided upon so that all will work according to a given scale. Aroimd the sand table may be grouped to good advantage at least four, each one being responsible for a given part. A sand map upon which can be traced Paul's journeys will present a problem of vital interest to the Bible student. A 'map constructed to show the oriental world, representing the lands into which the chosen people went as captives, will make plain to the mere observer the philosophy of their history and the natural reasons for their varied national expe- riences. Assign to some members of the class the 50 Handwork in Religious Education working out of landscape scenes for Bible or mission stories, as suggested under *' Construction Work/' chap, viii, paragraph 12, such as the series of scenes representing the Hfe of Abraham and the Hfe of Jesus. The story of the wilderness wanderings of the children of Israel and the final entering of Canaan, the story of Samson, the experiences of Elijah and the house of Ahab, the journeys of Jesus during his ministry — such as these present excep- tional opportunities for a series of scenes com- bining the sand maps and the construction work. History and geography can most quickly be mas- tered by this method. This will give reality to the Bible records as nothing else can do. CHAPTER VIII DETAILED SUGGESTIONS FOR EXPPESSIOX WORK § I. CARD- SEWING Perforated cards can be purchased from the Milton Bradley Company, Springfield, Massa- FiG. I. — Card-sewing to be used with Bible stories chusetts. The teacher may plan upon these the design she desires the children to sew. Or she 51 52 Handwork in Religious Education may procure the cardboard and, using the per- forating needle and pad procured from Bradley's, or a common awl, make such designs as desired. (The felt pads can be made by gluing a piece of wmm mm Fig. lessons. -Sequence of flower design in card-se\A'ing for Nature felt on to a stiff clothboard.) Use the colors of yarn suitable for designs. There may be sequences of design, as shown in the flowers in Fig. 2. For the very small children who cannot use a needle, designs such as the stars in the circles (Fig. i) can Suggestions for Expression Work 53 be made. The card is cut from the edge toward the center to the points of the star and the yarn is woven into these incisions. Other designs can be made on the same plan. § 2. PAPER-CUTTING The cutting out of pictures in outhne is one of the earhest interests of childhood. The observant teacher will collect from magazines, papers, and books many suggestive pictures. These can be cut out by the youngest children if they are traced beforehand for them. Remember that blunt scissors for small children are easily procured. Older pupils can trace them and even cut out original patterns to be used. These patterns (see Fig. 3) may be illustrative of the joys and blessings of childhood, special days, such as Christmas, Thanksgiving, Easter, picnic day, gardening day, etc. Other patterns may illustrate: Bible stories such as the parables of the Good Samaritan, the Pharisee and the Publican, the Lost Coin, the Sower, etc.; the animals of the Bible; the Bible characters such as Elijah fed by the ravens, Jesus and the liHes (see Fig. 10), David in defense against the beasts, Abraham as a shepherd; flowers, etc. These may be used as illustrative of the day's Sunday-school lesson, arranged as posters (see pictures, Figs. 4 and 5), put into groups repre- senting some biblical scene or religious idea (see Fig. 4, the Three Wise Men, the Triumphal 54 Handwork in Religious Education Suggestions for Expression Work 55 KJEiSu RU Fig. 4. — Paper-cuttings mounted as posters Fig. 5. — Paper-cuttings mounted as posters and colored 56 Handwork in Religious Education Entry), given as souvenirs to the children to make the lesson concrete, used for wall or blackboard decorations. For blackboard work the patterns may be traced on the board and then shaded or colored, or the pattern may be held on the board and the eraser on which chalk has been rubbed passed over it, making the edges illuminated as in Fig. 6. Figure 7 represents the children of mission fields and the homes in which they Kve, the Eskimo, the Korean, the African, the Chinese, the Japa- nese, the American Indian. These are crayola- decorated paper-cuttings. Paper-cutting may be illustrative of the life of Jesus, as shown in Fig. 9. Many of the patterns shown above are freehand cuttings, as are also the cuttings shown in Figs. 7 and 9. Pictures cut from missionary reports and maga- zines, as well as photographs, may be arranged in a poster such as Fig. 8. Figure 8 has at the top a pen picture with the verse : I want to send a whisper song Across the waters blue, And say to all the little folks, ''Jesus loves you." The poster is composed of pictures of children of all lands. A poster of photographs and pictures of students of all lands is effective. In the midst may be placed in fancy lettering the words, ^'They Suggestions for Expression Work 57 Fig. 6. — Paper pattern used for illuminated blackboard figure 58 Handwork in Religious Education Suggestions for Expression Work 59 6o Handwork in Religious Education shall come from the East and the West and shall sit down in the Kingdom of God." More elaborate paper-cutting and -mounting with crayola-drawn scenic background may illus- trate Bible stories, as seen in Fig. lo. The customs Fig. 9. — Paper-cuttings illustrating events of Jesus' life of mission lands or the scenes of a missionary enter- prise may be arranged in serial form, as is the life of Jesus in Fig. 9. The well-known kinder- garten parquetry work in colored papers is well illustrated in the paper-cuttings and -mountings Suggestions for Expression Work 6i ^ - IlaI Fig. io. — Bible scenes in paper-cuttings with scenic mount- ings. I, "And Abram built there an altar." 2, "He took one of the stones and lay down to sleep." 3, Abraham and his altar. 4, "Peace on earth." 5, "Consider the lilies." 62 Handwork in Religious Education Fig. II. — New Testament illustrations in paper-cutting and -mounting. Suggestions for Expression Work 63 of fruit and flowers and Japanese lanterns of Fig. 14. In paper-cutting the paper that is cheapest and can be used to excellent advantage is the manila paper, or the reverse side of wall paper, especially if that of a soft or neutral color can be obtained. Discarded rolls of wall paper can be found in most homes. § 3. STENCILING Closely allied to the paper-cutting in its general effect is the work with stencils. Stencils may be made by pricking with a perforating needle, or awl, the outHne of the design or figure desired. It is far more satisfactory to buy stencils already prepared, at the price of 5 and 10 cents, from some picture firm, such as George F. Brown & Company, Beverly, Massachusetts, or the United Educational Company, 61 East Ninth Street, New York. The paper upon which the stencil is made is placed upon the blackboard with the rough side out. A blackboard eraser, upon which has been put powdered chalk, is passed Hghtly over the design. Upon removal it is found that the outline of the design is apparent. The drawing of the design over these dotted Hues is a very easy matter. Later the design may be shaded and left as a black-and-white picture, or the design may be colored with appropriate blackboard crayons as in 64 Handwork in Religious Education any blackboard picture. Stencils are very satis- factory for blackboard borders, as represented in Figs. 12 and 13. Good stencils are to be had for special days, particularly national holidays. Closely allied to stenciHng as described above is the more complex stenciling for the older children, coming into the realm of stenciHng for book covers, for draperies for the Sunday-school windows, for bookcases, etc., and for art decorations on velvets, silks, etc. The most modem method of stenciling is by the use of a blow-pipe or atomizer, by which means liquid dyes are used with especially pre- pared stencils. Opaque colors, especially good for posters and decorative and realistic work, can be procured from the Waldcraft Company, Indian- apoHs, Indiana. § 4. picture-tearing The same designs that are used for paper- cutting may be used for paper-tearing. More care must be given to the kind of paper used than in the case of the cutting work. It should be paper that tears as readily crosswise as lengthwise. Avoid also the use of tough paper. Colored papers can be procured from the Milton Bradley Company, Springfield, Massachusetts, or from any house carrying kindergarten materials. These papers come in lots of 100 and 250, 6X9 and 12X9 inches. Samples of the colors carried can be procured. Suggestions for Expression Work 65 66 Handwork in Religious Education Children should be led to experiment first on the plain paper. Picture- tearing is somewhat more difficult for children than the picture-cutting. However, the design may be drawn on the paper before the tearing is begun, thus making the effort very much easier for the small child. As in paper- cutting, much attention is to be given to the use Fig. 13. — Blackboard stenciling and construction work made of the design when finished. It should at least be mounted on a piece of cardboard (see Fig. 15) and may well be mounted with other tear- ings so as to express some definite idea or story, such as that of the life of Abraham in Fig. 16. § 5. picture-coloring One of the early delights of childhood is the coloring of pictures. This may very easily be Suggestions for Expression Work 67 done with crayolas by very small children. The Perry or Brown pictures in black and white or Fig. 14. — Parquetry cutting and mounting sepia may be used for this purpose, but the details in them are rather too many. Somewhat easier, 68 Handwork in Religious Education perhaps, is the coloring of paper-cuttings as sug- gested under ''Paper-Cuttings." Special care should be taken to see that suitable paper is used, a somewhat rough variety being preferable. The crayolas, which can be obtained at almost any sta- tionery store, have oil in them, so that the colors do not rub readily. Binney & Smith, New York, put up twelve assorted colors for educational color work, No. 99A. For the smallest children this may be Fig. 15. — Paper- tearing: the carpenter's tools, a home fire- place. preferable. Far more satisfactory work can be obtained, however, with colored crayons, or with pastellos, which can be secured from the American Crayon Company, Sandusky, Ohio. These make possible the blending of colors in a very pleasing way. Water colors may, of course, be used to advantage for the coloring of pictures. The best- known colors are Prang's and De Voe's, if one desires a cheap set. These come at 25 cents and include, with the four primary colors, the paint Suggestions for Expression Work 69 box and brush. Winsor & Newton paints are to be especially recommended among the more expensive ones. A smooth wash of the color desired may be made upon the paper and then the pattern cut out from this. The same thing is possible with the crayolas. All picture-cutting will be much improved if appropriately colored.. In all mountings for paper-cutting and paper- tearing, whether colored or not, special attention should be given to the harmonizing of colors. Much of the aesthetic pleasure, as well as edu- cational value of this work, may be lost through lack of care in the aesthetic arrangement and har- monizing of color-values. Different tones of the same color make aesthetic combinations. § 6. paper-folding Paper for folding can be cut at any bindery, with a photographer's trimming machine, or with a very sharp knife and a square; it is still better to buy the paper to be folded from some house carrying such materials, for example, the Milton Bradley Company. Paper-folding may be done by very small children if the folding is not intricate or involved. Very simple paper-foldings for the con- struction of boxes, pen trays, picture frames, etc., may be planned. The children may make some of these articles as gifts for their home people and some of it for the use of the Sunday school on 70 Handwork in Religious Education Fig. i6. — Paper- tearings illustrating Abraham's life, i, Trav- eler to Canaan. 2, An altar under the oak. 3, Trip to Eg>'pt. 4, As the stars in the sky. 5, Visit of the three angels. 6, The cUmb to Mount Moriah. 7, Abraham's tent life. Suggestions for Expression Work 71 special occasions, such as Christmas candy-boxes, May Day baskets, etc. This should be done first by the children in experimentation with Fig. 17. — Paper-foldings as picture frames light-weight paper and then repeated .in the heavier cover-paper for the final article. Paper-folding may also be that of beauty forms, including fancy frames for small pictures, as in Fig. 17. 72 Handwork in Religious Education Beside these there is the picture-folding for illus- rative and representative work. See Fig. i8. § 7. STICK printing AND BLOCK STENCILING A pleasure that many children have enjoyed is that^of printing with blocks and sticks dipped in various colored inks or dyes, and used for border decorations (see Fig. 19) or combined into pictures. One can construct these blocks and sticks out of wood, though they can best be purchased from some house carrying them. Felt pads, saturated with the ink or liquid dyes, must be used just as pads are used with any stamps, such as an auto- graph or corporation or date stamp. Special designs may be made by individual pupils and may represent a class seal, badge, etc., as well as being decorative for stationery used. The block- printing materials, as well as the stick-printing materials, with the dyes necessary, can be secured of the Waldcraft Company, Indianapolis, Indiana. Full directions for the use of such materials can be had from them upon request. § 8. COPING SAW WORK AND WHITTLING These methods of expression work appeal espe- cially to boys, though girls also do very satis- factory work. The coping saw work trains in form-study, construction, and invention and requires careful work. The patterns illustrated in Suggestions tor Expression Work 73 Fig. 18. — Illustrative paper-foldings 74 Handwork in Religious Education ♦♦♦♦ .:'—*:'--* 1 1 I , -. , . * ' fp^ ^k,:-, ,. vt ■ ' H. - w,. »-,„. ,, :♦♦♦ 4 ♦ ♦♦♦♦ ♦f • ^ * ► •• ♦ ^-v^fi^-^^ 9f ^V. /^/// -f^./;A,-^/-/. 4 ;/-;.