UNIVERSITY AT LO ^ The Theory and Practice of Teaching Art by PROF. A. W. DOW C2. 2 2. / 3 94 ] r> D lot TEACHERS COLLEGE RECORD Vol. IX MAY, 1908 No. 3 TRAINING IN THE THEORY AND PRACTICE OF TEACHING ART / INTRODUCTION 2. -2.-2-/3 The Purpose of Art Teaching The true purpose of art teaching is the education of the whole people for appreciation A training that calls for a very direct exercise of the critical powers, developing judgment and skill, is a training that will in- crease the individual's efficiency whatever his calling may be. The general public has not thought of art education in this way, but has acknowledged the value of "drawing," especially when it can serve some utilitarian purpose. [a better understanding of the true usefulness of art recog- nizes creative power as a divine gift, the natural endowment of every human soul, showing itself at first in the form that we call appreciation. This appreciation leads a certain number to produce actual works of art, greater or lesser, — perhaps a temple, perhaps only a cup — but it leads the majority to desire finer form and more harmony of lone and color in surroundings and things for daily us^. It is the individual's right to have full control of these powers. 1 Even from the economic side, that education is deficient which leaves one unable to judge of form and color when he is con- stantly required to use such judgment. This lack of appreciation responsible for an immense waste of labor, skill and money in e production of useless and ugly things. Works of fine art 5] I 2 Teachers College Record [134 stand among the thinj^s which the world prizes most highly. A nation's ideals are revealed in its art, and its art has greatest value when it is the expression of the spirit of the whole people. In a sympathetic public is found the life-giving influence which creates works of fine art, and the measure of their excellence is the measure of the nation's appreciation. The attainment of such an end as this places public art educa- tion above a mere training in drawing, painting or modelling, and above the so-called practical applications. The work must be organized for a steady growth in good judgment as to form, tone, and color, through all grades from the kindergarten to the university. The main question at all stages is whether the art work of the school is making this good red blood of appreciation and giving to the individual the greatest possible encouragement to express himself. Academic Art Teaching Artists themselves, when by their works they can hold the attention of the people, become the teachers of the people, in a large sense. But when there is need of well defined methods of teaching for general use in public schools, the artist if asked for help will naturally suggest the means by which he obtained his professional training. The public will also look to the art school for direction, or at least for a theory. Unless the professional people have recognized the necessity of general culture in art, and have thoroughly studied the conditions, the probability is that they will offer only a modification of what we will call "academic" teaching. This has been the case in large measure and art edu- cation has not advanced equally with general education. Since the days of Leonardo da Vinci the main effort in art teaching has been toward representation. Before that period the main purpose was the creation of harmony. Under the influ- ences of the later Renaissance, representative drawing has been given an importance far beyond its real deserts. If the fundamental principle of academic art teaching could be stated in a phrase, it would be "First, learn to draw," — refer- ring to accurate representation. Naturally the methods and prin- ciples of the professional art school have been copied in formu- lating courses for public school teaching. Hence we find repre- 135] Training in Theory and Practice of Teaching Art 3 sentatiijn holding the chief place in art courses under the various names of freehand drawing, light and shade, mass painting, etc. The followers of the academic ideal relegated design to a secondary place under the term "decorative art," and sought to explain the beauty of design by an analysis of historic styles. Courses in design became a study of styles, just as courses in drawing became a study of nature. The effort of the academic method is centered upon "learning to draw," and in two directions : nature forms, and historic art. The principle is — first acquire a knowledge of facts, either of nature's facts or art's facts, then use them in your own creative expression. Roughly outlined, courses in art would be based upon a scheme like this : Academic method Representation Design Drawing from casts and other objects Perspective Light and shade Pencil drawing Pen drawing Charcoal line drawing Brush drawing, etc. Color study, from f charcoal nature .j Water color Painting Picture study Composition, inciden- tal Historic ornament Structure of pattern Perspective Color exercises Wash drawing Composition, in some style or period Oil It is true that individual teachers vary this program, intro- ducing other elements and combining both representation and de- sign in one course, but in the main the effort goes to the acquir- ing of facts and knowledge out of which appreciation may grow somehow, if indeed the matter is considered at all. Such an aim as this is too uncertain and inadequate. The work does not tend 4 Tcaclu^rs College Record [136 to orip^inal expression. It is a partial education, leaving the pupil without sufficient grasp upon the essentials. Synthetic Teaching If we regard the purpose of art instruction to be the develop- ment of power, it is evident that our whole scheme of teaching must be radically different from that outlined above. A possible progression for courses in art is suggested m observing how the the creative force has expressed itself, from the beginning in rude rhythms, to the supreme art works of the world. Comparison of the fine arts, as to structure, shows that a few fundamental ideas are common to them all.^ Investigation of methods of teaching other arts will suggest at least a theory of procedure in the case of the space arts. Having discovered what are the elements and basic principles the first step is an effort to create with them, be it only a harmony of two or three lines or spots. From this one proceeds in suc- cessive steps up to compositions of great complexity — the design, the sculptured group, the building, or the picture, — using nature's facts and historic knowledge, acquiring skill of hand and ac- curacy of vision, employing every possible aid to strong and clear expression. Skill in drawing will now be sought as a means of expression, not considered as an end in itself. Historic styles will now serve as examples of harmony, not as mere models. The earlier and more elementary part of such a course is from its general nature suited to the public schools and to all classes of students. The later problems are naturally those of the specialist, the teacher and the professional artist. The Art Language In the space arts the elements are but three : Line — the boundary of a space. Dark-and-Light — or mass, or quantity of light. Color — or quality of light. These constitute a language for all forms of space-art whether representative or decorative ; architectural, sculptural or pictorial. There is no necessity for any two-fold division into representa- tion and design. Design is rather the very beginning, the primer ^ The Genesis of Art Form, by George Lansing Raymond. 137] Training in Theory and Practice of Teaching Art of art, and there is one sense in which all good space-art may be called design. Under the heading of Line may be grouped all kinds of line harmony, beauty of contour, proportion of spaces, relations of size, — all drawing, whether representative or decorative. Under Dark-and-Light, elementary and advanced tone study, painting, composition of masses ; in architecture, patterns and pic- tures. Under Color, the theory of color, relations of hue, dark and light color and intensity, — color harmony The natural sequence in the use o^fkis three-fold language would be: i. Line, 2. Dark and Light, 3. Color. It seems best to begi^with Line but there should be no rigid division. It is quite possible to begin with Color, or even with all three of the elements, provided the progression is maintained, and the appreciation of harmony be the main purpose. As this method^f teaching approaches art from the side of 'composition, it may be called the Synthetic Method, to distinguish it from the academic, which is analytic. A course of study from this point of view would be based upon an outline something like this : Synthetic Method LINE DARK and LIGHT Spacing, Line structure Character of line, expression Principles of Design Composition of line Representation Massing, Values Quality of tone Composition of Dark-and-Light Light and shadow in representation Hue, Value, Intensity Color harmony COLOR I Color composition Drawing and Modelling . Painting 6 Teachers College Record [138 COURSES Two things are essential to success in any form of work in the space arts. 1. Appreciation of harmony of line, mass and color, whether in Architecture. Pictures, Sculpture, Design, or Nature. 2. Ability to express ideas in terms of harmonious line, mass and color. Under these two heads may be grouped all studies in the theory and history of art, and all the various forms of training for hand and eye. The "courses of the Department of Fine Arts of Teachers College are planned for a progressive growth in ap- preciation and power of expression, developing freedom and skill in drawing, painting, modelling and construction. The work is intended to be primarily an exercise of the mind, aiming for power rather than a superficially pleasing result. In fact the student's work might be far from what is orcj^narily considered a successful drawing and yet the individual has made a genuine and decided advance in artistic power. Unusual creative genius will often express itself in terms seemingly rude. Accuracy and finish in execution certainly have great value, but more important is the personal feeling, the fresh individual way of expressing ideas in art-form. The Junior or first year courses are devoted to principles of line composition, spacing, values and color harmony, with ex- tensive studio practice in drawing, modelling, painting and de- signing. The Senior or second year is given to special work in three general divisions : a. Theory and Practice of Teaching Art ; Supervision of Art Instruction. b. Advanced Drawing and Painting, with life model ; com- position of pictures ; illustration ; landscape painting. c. House Decoration ; advanced design. Note. — For information as to admission, required work for the degree and diploma, fltscription of fundamental courses in education, and all matters of organization, see Teachers College Announcement. 139] Training in Theory and Practice of Teaching Art 7 DESCRIPTION OF COURSES AND EXPLANATION OF PLATES Fine Arts 5-6. Principles of Design. 9 hours per week. Fine Arts 17-18. Design in Construction and Decoration. 6 hours per week. These classes meet together for the lecture and class criticism, but work in separate studios. 5-6 is a course for teachers, painters and general students. 17-18 is for designers and craftsmen. Spacing or the kind of beauty created by arranging lines and spaces, is the first subject considered. There are many ways of beginning a study of spacing, but Fig. i illustrates one series. nl Fig. I. Spacing. Practice with Japanese Brush 8 Teachers College Record [140 These exercises in line spacing show that prreat variety of ex- pression is possible even with a simple group of straight lines. By arranging sets in a square, a unit is constructed. In making many of these units and selecting the best, the student is forced to use his appreciative powers and a certain amount of invention. The eflFort must be toward making a fine arrangement ; mere dif- ference of spacing would have no art value. Drav^ing. Use of the Japanese Brush First, rough sketches in charcoal. Then drawing the lines with the Japanese brush and ink — either directly over the charcoal lines, or on Japanese paper. All work must be absolutely free- hand. No measurement of any sort is advisable. The brush is held perpendicular to the paper, like an etcher's needle, and is moved very slowly, with deliberate intention as to the width and direction of the line. The Japanese brush has been chosen be- cause it is an implement made expressly for line drawing, is readily obtainable and very inexpensive. Moreover it is the most sensitive implement for drawing, admitting of great variety in the quality and width of stroke. The exercise of drawing deliberately, of causing the hand to obey the will, is in itself a training in skill and execution. Tracing As the eflFort is always toward the finer qualities, tracing is practised for the improvement of the spacings, or refinement of the lines. For this purpose, and for line work with the brush, Japanese paper is the best. It is sized, is very strong, soft in color, and transparent. Mere mechanical tracing has no value, but tracing for improvement has a distinct art-use. Ink and Ink Stone Japanese stick ink is the most economical, as a little grinding upon the ink stone will produce a suflUcient quantity for a large amount of work. Bottle ink or water colors can be used. The materials suggested above are the best for the purposes desired, but they are not absolutely necessary. The exercises in line drawing and in spacing could be executed with pencil, charcoal, crayon, or even oil paint brushes. The principles can be taught m any medium. 141] Training in Theory and Practice of Teaching Art 9 Historic Examples Such simple spacing of straight lines suggests at once the architectural moulding and its kindred. The best examples, Greek, Gothic and Renaissance, can be shown and their excellence pointed out. Application If desirable at this stage the lesson can be applied directly to designs for mouldings, line borders for book covers, framing, etc. I— —J PHEtSS Fig. 2. Spacing of Rectangular Panels 10 Teachers College Record [142 - i'-l ^ — : «- 8*- 7^ 1 1 3CALei"=-l' Fig. 4. Working Drawing from an Arrangement in Fig. 2 143] Training in Theory and Practice of Teaching Art II Rectangular Spacing The first problem involved a very simple synthesis. The next should include the first with an added step. Rectangular panelling, the arrangement of enclosed spaces seems to. follow naturally. The square and circle being invariable, composition is possible only with the interior lines. But the rectangle is infinitely vari- able ; its proportion is a matter of choice ; hence rectangular spacing lays a double burden upon the designer, boundary lines, and interior lines. Suppose the Door is chosen as a subject. Its panelling affords an opportunity for spacing. (Fig. 2). After the exercise in original arrangements of rectangular panels the student may 1. Draw an actual door in perspective. (Fig. 3. See page 23-) 2. Make a working drawing from a free-hand design, adapt- ing it to the requirements of construction. (Fig. 4), Another good subject would be a box with panels for top, front, and ends ; with perspective drawing and working drawing. ■"" ^^^^ Fig. 5. Irregular Spacing 12 Teachers College Record Irregular Spacing. Landscape [144 Irregular spacing of straight lines, vertical and horizontal, suggests a unit for textile design, the familiar plaid pattern. But a similar system of lines might be the basis of a pictorial compo- sition. (Fig. 5.) In either case a few main lines cut the space into smaller divisions. Both are designs, and their excellence de- pends upon the same principle. The introduction of landscape Fig. 6. Flower Lines in Space Composition 145] Training in Theory and Practice of Teaching Art 13 now points to the unity of all forms of space-art, and incidentally gives the student an added interest. Curved Lines A series of exercises in curved line could be undertaken at this time, with many applications. These would necessarily be geo- '^~P \Z7r7 V y c Fig. 7. Proportion in Curved Line metric. It will be better, if time is limited, to take flower forms as line themes for spacing. (Fig. 6.) This does not mean merely drawing flowers from nature and enclosing them in a space — a 14 Teachers College Record [146 rather mechanical operation — but a choice of certain flower forms and the attempt to use tlieni as a Hne scheme within a space. Such an exercise would suc^pest a reason for drawing the flower from nature, especially if the panels are developed into designs for actual use. Drawing. Two Points of View Note the difference betzveen drawing merely to acquire skill or to obtain ktwwledge of facts, and drawing things because they are beautiful or because there is a definite art-use for the drawing. For a more intimate study of the nature of curved line beauty, there might be an exercise in composing curves of pottery. (Fig. 7.) It will be seen that there is beauty of spacing in the curve itself. Greek Vases. Pottery Fine examples of curves can be shown, at least in photograph. But here is the opportunity for work in the museum — for the drawing of Greek vases, pottery, and even of sculptured figures and animals, — as examples of beauty of curve. Application in Clay Modelling or Metal Immediate application can be made in clay modelling, by build- ing up bowls and vases from original designs by students. The same may be said for hammered metal. Principles of Design So far there has been a consideration of spacing for a general eflfect of good arrangement. Following this would be the study of certain definite ideas of composition — distinct ways of creating harmony of line. These ways, for want of a better name, may be called Principles of Design. For ordinary purposes of teaching two will suffice — and may be named Subordination and Rhythmic Repetition. "~" - Other principles of lesser importance, Symmetry, Opposition, Transition, could be specially studied if necessary, but usually they are included in exercises in the two first named. Subordination is that principle by which the parts are mutually dependent upon some dominating part or group of parts. A good illustration is the flower with its main line of stem, from which radiate the lesser lines of leaves and petals. (Fig. 6.) Spaces 147] Training in Theory cmd Practice of Teaching Art 15 may be arranged in principal and subordinate groups. (Fig. 8.) There is a central or dominating idea and all others are con- tributory, like the "point" of a story, the "centre of interest" or Fig. 8. Principles of Design; Subordination. Original Designs the "focus" of the picture, the "main line" of the statue, the "style" of the building, the "key" of the color scheme. i6 Teachers College Record [148 An exercise in this principle is illustrated in Fig. 8. A branch of apples furnishes a set of lines and spaces that may be set into a rectangular panel. The unity of such a design is dependent upon the simple and clear disposition of the main spacings. Landscape is an excellent subject for studies in Subordination. (Figs. 16, 17, 18.) An extended series could be introduced in- volving Flowers, Fruit, Figures, Animals, Landscape, Architect- ural detail, and Decorative panels. Applications Panels for Wood and Metal. Book Cover design. Illustration with page composition. Landscape sketching. With this work would be associated drawing from nature and special research in the history of architecture, painting and de- sign. Photographs of fine examples could be shown the class, and museum work in copying be carried on in connection with the lesson. Rhythmic Repetition This is perhaps the oldest form of art expression. The dance, the drum-beat, the rhythmic chant, rude rhymes, incised and painted borders on pottery, woven borders and patterns — all these are harmonies created according to one underlying principle. They are the beginnings of the drama, music, poetry, architecture and painting. Mere repetition has no art- value, but repetition in fine spacing, with an intention of producing harmony, — this calls for apprecia- tion and a feeling of power. Borders It is not necessary to illustrate here the well known straight line frets and borders, the zigzags and meanders and swastikas, common in all art from the engraved paddle and tapa cloth of the savage to the Greek temple. The class may profitably study the development of rhythmic borders by taking a series of straight lines llllllinnnnnnn or AAAAAAA add- ing other lines and producing varieties of the so-called Greek fret. These might furnish motifs the best of which could be drawn large enough to afford interesting spacing. 149] Training in Theory and Practice of Teaching Art 17 A good exercise for beginning the study of this principle is based upon the straight or curved line border. The instructor may suggest several themes, or the students may choose them Fig. 9 Variations in Two Values 1$, Teachers College Record [150 from primitive art and compose variations in many spacings. (Fig:. 0.) Another series can be based upon such simple units as the line and dot (Fig. 10), or \-^. Surface Pattern This is a more complicated form of rhythmic repetition, yet the structure is very simple, all being reducible to a geometric skeleton of squares, triangles, ■ lll|lll ' i ' lllilii rectangles, or diamonds. The ""ill 1^' U ll^il MM <^^^c^^^ hosLtd is a good line Kll "^ 4 lipllll ^ i ^^^^"^^ ^^^ ^ beginning, placing a M III. ill I" B "I ||||i|| a figure in each square or each ^ li li' Ml Ifc^ii IIPMII alternate square. The class should IJI5 i ' lll|ill ^ i ' consult books upon the structure !"' Ib:ill M'!'U |„\|J of paten " ii II' '(I li^ii IP* Ml ^°^ returnmg to borders, I A lll|lli ^ ^ ' more difficult problems are un- •M] jii'ijj |i''M| |||*|l| dertaken, using curved line, ^.i mini i/^.i ilillll \.«l li^'MJ h T.if IM'MJ (""■ ' -i ' lil|lll ' • ' more difficult problems are un- Ml I.- -I IIMMI kT^^ T . ||ll||| » T .| ilfllll flowers, animals and figures. |iii ".'I llfe|ill '^ ." (Figs. II, 13, 14.) Then the Fig 10 Line and Dot same units may be combined in surface patterns. (Fig. 30.) Textile Pattern The collection of textiles^ will demonstrate the methods of composing pattern through the ages, but most important of all is the appreciation of the finer qualities as to spacing, proportion, and rhythm. For example the Italian of the fourteenth century has a distinction of line harmony which is lost by the eighteenth century (Fig. 42). Landscape. Pictorial Expression Rhythmic repetition is a structural principle often chosen by the masters of landscape. A mural painting, for example, with 1 The Anatomy of Pattern, The Planning of Ornament, and other books by Lewis F. Day. Line and Form and The Bases of Design, by Walter Crane. Theorie de I'ornement, by Jules Bourgoin. A Theory of Pure Design, by Denman W. Ross. ' Collection presented to Teachers College by Dr. Denman W. Ross of Cambridge. Other examples loaned by friends. Photographs of textile pattern. 151] Training in Theory and Practice of Teaching Art 19 the vertical lines of trees cutting horizontal lines may thus har- monize with an architectural setting of columns and pilasters. Repetition in landscape tends to an expression of solemnity and calm, or of harmonious motion. Its effect is to unify and simplify the whole composition. Fig. II. Dark-and-Light ; Two Values. Subordination and Rhythmic Repetition Repetition occurs in nature in countless forms, but for students' purposes the lines of trees, hills and mountains, tide lines, boats, flocks of birds and animals, hayfields and streets will afford abun- dant material. For this, as for all composition work the student should make many studies from nature. He thus has, as we said above, a definite art-use for the drawings and a very strong in- centive for learning to draw. ao Teachers College Record [152 Application Even for repeating patterns and compositions in line only, there are many possible applications. Here are a few of them : Line and dot border for book covers, incised lines in wood carv- ing, patterns in perforated metal for lamp shades, sconces, and lanterns, embroidered lines, and patterns in kindergarten sewing. Dark-ani>-Light (or Notan ^) Though for convenience the elements. Line, Dark-and-Light, Color, are treated separately in this article, it must not be in- i %.M Dark-and-Light. Two Values. Subordination and Symmetry ferred that classroom practice conforms to this sequence. In fact dark-and-light exercises should enter the course near the begin- ning, and color should follow close after dark-and-light. The order would be something like this : 1. A line exercise involving a principle of design. 2. Choose one drawing and see how many good dark-and- light schemes it will give. 3. Substitute colors for neutral tones. This will show how many are the possibilities from even one design, and will develop invention and a sense of capacity. * We have no one word in English for this idea. The Japanese word notan, "dark, light," is very expressive and more direct than the Italian word chiaroscuro. 153] Training in Theory and Practice of Teaching Art 21 The use of tone, varying the quantity of light upon a line de- sign, brings in a new and different kind of harmony. The most elementary form of this is in the contrast of two values, black with white. The most complete is the picture in full tone. The progression is then Fig. 13. Original Design 1. Two values, black and white. (Figs. 11, 12, 13, 14.) 2. Two values, dark gray and light gray. (Fig. 15.) 3. Three values, dark, medium, and light. (Figs. 19, 23.) 4. More than three values. (Fig. 27.) Dark-and-Light exercises are the beginning of painting. Here again the Japanese materials are very satisfactory, but it is possi- ble to do all the work with water colors, charcoal, oil paint or even pencil. Two Values The problems may be infinitely varied and should differ from year to year. ^ In Fig. 9 are some of the first attempted. Fig. II might follow these, illustrating Subordination and Repetition, and Fig. 12, Symmetry and Subordination. Figs. 13, 14, textile patterns, inspired by eastern Mediterra- nean embroidery, involve not only dark and light but the first step in color study, as they can be executed in blue or red. Dark-and-Light in Pictures. The Picturesque The peculiar beauty of landscape which we designate by the term "picturesque" is largely the beauty of daxk-and-light. Ar- tists call it "massing" and "spotting." 22 Teachers College Record 1154 To understand the structural use of tlie dark-and-light ele- ment in pictorial art the class makes ink sketches in two values 1. From the masters of painting. (Fig. 16.) 2. From nature. (Fig. 17.) Fig. 14. Variations in Two Values. Original Design iSS] Trauiiuii in Theory and Practice of Tcachiii!^ Art 23 Fig. 15. Two Grays Fig. 3. Door, in Perspective; Freehand Drawing ^4 Trachcrs C'olli\^i' Record 156 ^TTHL A ^^^^^^^^^^^■B r l-'ig. 16. Dark-and-Light .Massing. Sketches from the ^Masters {* ^'M .'H Fig. 17. Dark-and-Light Massing. From Nature 15/1 Tra//; ///_<; //; Theory and Practice of Teaching Art 25 Exercises in dark-and-light, two values, might take the form of those illustrated in Fig. 18. A landscape is composed in line, then many variations are played upon the single theme. The stu- Fig. iS. Dark-and-Light ; Two Values. Exercise with Landscape. Original Designs dents should use their own sketches from nature. In defauli of those, the instructor draws the landscape subject upon the l)oard, or gives the class photographs from which to make com|)ositions. 26 Trdclwrs C'('//«'.c<' A'l'i"''''/ isR Via. -'6. I'lirec Values ^^ f^M:^^ m^Sji Fig. 19. Dark-and-Light; Three Values. Variations with Ancient Textile Patterns *59] Training in Theory and Practice of Teaching Art 27 Fig. 20. Coptic Design ; Three Values Fig. 25. Four Values. Original Design Fig. 22. Three Values. Original Design _'S Ttihlu-rs C ('//("xr h'l'coid l()(\ Fig. 21. Dark-anH-Light ; Ihree Values. Original Designs i6i] Trai)iiiig in Theory and Practice of Teaching Art 2g Application Some eminent illustrators have used two values, black on white, not merely for page decorations but for complete compo- sitions with figures.^ Blue and white china, and pottery with blue or black patterns are excellent examples of the use of two values in both patterns and pictures.- Metal corners and key plates, posters, page ornaments, de- signs in gilt or one color on book covers, and stencil designs on cloth and paper are a few of the applications of this element in design. Thrke and More Values With three values, light, mcdinni, and dark, a new idea is introduced, the interval. This medium tone is the element which harmonizes extremes of difference. Both dark and light may float in it. By it the whole composition is unified. To mix this tone in ink wash, to determine its depth and apply it successfully to paper is a matter of good judgment and skilful handling. Fig. 19. Textile patterns are drawn freehand from historic examples, then used as line schemes for variations in three values. Figs. 20, 21, 22. Some of the earlier line work developed in dark-and-light of three values. Figs. 23. 24, 25, 26 are original motifs developed in three or four values. Landscape. Three or ^Iore A'alues For landscape and all pictorial work in a few values, charcoal will be found very convenient. It is an especially good medium for those who intend to pursue the profession of painting. For large designs in three or more values charcoal and oil paint are the best mediums. The paper is covered with a middle tone, dark put in with soft charcoal, light taken out with bread or rubber (Fig. 2^.) Application Book illustration, and general pictorial work. The mezzotint.^ ' See illustrations by R. Anning Bell and others in The Banbury Cross Scries. " See collections in Museums — Ming porcelain, Dedham ware, and Japanese pottery. ° See article by Sir F. Seymour 1 laden. Harper's Magazine. 30 Trachcys ro/Zci,'-*- Record [162 Fig. 2;^. Three Values. Original Designs '' i()^^\ Traiiiliio; in Theory and Practice of Teaching Art 31 Fig. 24. Thrc'u Values. OriKinal Designs I'rachrrs L\>lli\i;c Record 164 Fig. 2j. Dark-and-Liglit ; More than I'hree Values. Landscape Composition 165] Training in Theory and Practice of Teaching Art 33 Color The study of color proceeds in three stages : 1. Theory of color, with exercises. 2. Observation of. and copying of good color. 3. Original color composition. Theory of Color The science of color may have more or less attention, but the art student's main quest is for color harmony. What constitutes a harmony can only be decided by the appreciations — by a color feeling developed by training and experience. If one space is to vary from another by color, the difference can be in three ways only : 1. Difference of Hue, as red from green. 2. Difference of Dark-and-Light, as dark blue, light blue. 3. Difference of Intensity^ — as gray yellow, and bright red. See diagram Fig. 28.' Exercises involving difference of Hue. A circle is drawn and divided into five parts (Fig. 28a). The centre is painted a neutral gray of a medium value. The other divisions are painted in primary hues of the same value as the centre, and equal in intensity. This may be repeated in a light or dark key by painting N light or dark. A line design. (Fig. 28d) geometric or pictorial, is chosen and the spaces painted in hues from the circle. The possible differences are two only — size and hue. As there is no difference of dark-and-light or intensity, the beautv of the design would lie in a certain iridescence, suggesting perhaps stained glass. The ability to paint hues of equal value and intensity is worth much to the artist. The ability to perceive such relations tends to a finer sense of harmony. Exercises in dark and light colors. One color is chosen, say Prussian Blue, and is painted in a scale of five tones from light to dark. (Fig. 28b.) A design is ' For the statement of the theory of color (and of line and dark-and-light as well) the writer is indebted to Professor Ernest F. Fenollosa. The reader is referred also to A Theory of Pure Design by Dr. Denman W. Ross of Harvard University, and to A Color Notation by Mr. Albert H. Munsell. Mr. Munsell has prepared color spheres illustrating the differences and values of color, also scales, crayons, and tuned colors for class room use. .u Teachers College Record 166 colored ill terms of the scale — in one value like I'ii^'. 13 or two or more values. For illustrations we refer again to blue china, to the blue and white textiles, and to Eastern embroideries. Other hues may be used in like maimer. Exercises in bright and yray colors. This is the most difficult of all as it requires more appreciation of delicate differences. A simple scale is sugsjested in Fit;-. 28c. LIGHT DARK BRIGHT GRAY HUE NOTAN INTENSITY Design in blue and qreen Desit^n in li^ht blue and dark blue Desi- l-tlackboard Sketches 40 'rciiclwrs Colh\iic Record [172 to represent foreefully and with eharactcr, to see thing^s in their true proportions and tone \ahies. to express the quaHties of lines and textures. Casts, still life ( Fig'. 32 ) and the livino- model, the usual studio suhjeets, — are the basis for the study of the various prin- ciples of representation. In the last part of the year outdoor land- scape painting" and sketching are practiced when hours permit. The course prepares the teacher for the rapid blackboard drawing so essential in the presentation of art lessons in the schools. (Fig. 33.) It lays the foundation for the illustration work with figures and landscape, and for the advanced drawing. required in the senior year. Lecturr Course Fine Arts 53-54- Art Apreciation ; History of Art. A series of weekly lectures in which the masterpieces of ar- chitecture, sculpture and painting are critically studied. A his- torical sequence is followed with required reading. M. Reinach's work, Apollo, the History of Art tJiroiii:;hoiit the Ages, is used as a text-book, and other standard authors are consulted as the sub- jects require. The aim of the course is for appreciation rather than mere historical knowledge. In the beginning there is a dis- cussion of art structure with many illustrations in all fields of space-art, preparing the students to look for qualities and fine re- lations, for harmony and unity in design and in execution. Efifort is made to show throughout the series that all space-art, whether pattern or building, statue or picture, is based upon identical elements, there being onlv a difiference in the degree of harmony. For example, a woven border in a Peruvian tapestry, and the colonnade of a Greek temple are both expressions of beauty by means of Rhvthmic Repetition. To understand why one rhythm is so much finer than the other demands both historical knowledge and art appreciation. The course is illustrated by lantern slides, photographs and reflectoscope. Senior Year Fine Arts 11-12. Clay Modelling. (Placed in the senior year for convenience, but is open to juniors and may be taken parallel with 5-6, 17-18, and 7-8.) 1 73] Traiiuno; in Theory and Practice of Teaching Art 41 As courses 5-6 and 17-18 lead to painting and design, so 11- 12 leads to sculpture or advanced hand work. The steps are arranged progressively from elementary compositions in incised lines to modelling in full relief. The general order is : 1. Low relief — Designs in incised lines. Designs in one degree of relief. (Fig. 34.) These may take the form of tiles to be glazed. 2. Higher relief — Studies of animals, fruits and flowers. Origi- Fig. 34. Clay Modelling; Incised Line- )r cast and nal designs in panels, to be fired and glazed- afterward painted in colors. 3. Full relief — Pottery building as a study of line and color. Study of Greek vases and the liner examples of pottery. Decoration of pottery involving design and a knowledge of color. Modelling from life. Composition of figures or animals. During the course the class copies casts from the Arretine moulds,^ and any examples that will give an appreciation of re- finement of form, delicacy and force in execution and harmony in proportions. Whatever the problem may be, the modelling is undertaken to give an experience in finer expression. 1 These may be obtained from the Museum of Fine Arts, Boston. 42 Teachers Colic i^c Kccord [174 Fig. 35. More than Three \'ahies '75 J Trahiing in Theory and Practice of Teaching Art 43 Fine Arts g-io. Painting and Illustration This is a continuuation of 5-6 and 7-8 with a more extended studio practice in drawing and painting, and the apphcation of principles of composition to book illustration, landscape painting, figure painting, and mural decorations. Building upon the ex- perience of the Junior year the work is planned in advanced problems in Line. Dark-and-Light, and Color. A rough outline will indicate the general trend, but the course will vary accord- ing to the needs of the class. Fig. 36. Sketches from Life Line Drawing from casts, still life, figures, textiles, stained glass, Japanese prints. Original line composition, street scenes, land- scapes. Dark-and-Light Neutral scale in seven tones. Designs in terms of this scale. Still life in terms of this scale executed in charcoal or in oil. The efifort is toward an appreciation of finer intervals, toward simplicity of tone, and unity in the whole result. Landscape in five or six values, executed in charcoal or oil^ the notan of successive planes, the notan of the whole (Fig. 35). 44 TcacJicrs Collci^c Record [176 Fig- 37- Compositions 1/7] Training in Theory and Practice of Teaching Art 45 r^isTures from life in a few flat tones of charcoal, (Fig. 36) seekini^ to ex])ress action, character, and life. ( )rig-inal composition of figures and landscape, as illustrations, as mural decorations, or as easel pictures. (Fig. 37.) Color More complex exercises in Hue, etc.. but using oil paint as the medium and applying the units of the scales to designs for stained glass, posters, and illustrations. Copying of fine color schemes from textiles and Japanese prints. Fig. 38. Studies for Stained Glass Painting still life, in oil. in full color. Original color compo- sitions for book covers, illustrations, posters, pictures and mural decorations. The students are advised to use color freely, working for texture, quality and forceful expression. The experience of the course is important for art teachers and professional students of art. Fine Arts 19-20. Advanced De.sign and House Decoration This is a second section of the senior class in which the prin- ciples studied in 5-6, 17-18, and 7-8 are applied in advanced de- siirn. 46 'J\-aclicis Lollci^c Record [178 Tlic first half of the year is devoted to work in special lines of design, as glass, furniture, wall papers and textiles; the last half of the year to complete schemes for house decoration. The general outline is as follows : Line — Stained glass (Fig. 38), the lead line— copies of tine old glass, research work in the Avery Library. Architectural lines. The lines and proportions of furniture. The compo- sition of pattern. Dark-and-Light — Scale of seven neutral tones. Copying of his- toric examples of textile, and arranging the pattern in a few tones. Original patterns in dark-and-light. The "notan" of metal work. Panels and decorations in neutral values. Color — Color scales, etc. with application to both historic and original designs. The use of fresco colors ; wall paper and carpet designing. Stained glass in full color. Landscape as wall decoration. Book covers and illuminations. Color schemes for rooms. The course is of value to other than professional designers as it affords opportunity for a critical study of house furnishing from the point of view of good taste. 179] Traiiiiii!^ in Theory and Practice of Teaching Art 47 SHORT COURSES; AND COURSES IN OTHER DEPARTMENTS Fine Arts 13-14. Design. An abridged course in the prin- ciples of design, for students in manual training. See Fine Arts 5-6. Fine Arts 11 5-1 16. Design in the Kindergarten. This also is abridged from 5-6 for kindergarten teachers. The work is planned for general art appreciation with some studio practice. See Fine Arts 5-6. The Department of Manual Training (see special announce- ment, also the announcement of Teachers College) offers courses in Constructive Design, Wood Carving, Wood Working, Art Metal, and Hand Work for the various grades of schools. The Department of Domestic Art (see announcement) ofifers courses in Sewing, Textile Art, Household Design, and Embroidery. These are recommended as electives, that students may have full opportunity to create in material, and may see that good de- sign is the basis of all successful constructive work. 'Education 63-64. Theory and Practice of Teaching Art All students entering this senior course must have satisfied the requirements of Fine Arts 5-6 and 7-8, must have completed the fundamental teaching course. Education A, Educational Psy- chology, and must take, parallel with the art work. Education B, History and Principles of Education. The Horace Mann Schools of Teachers College with more than a thousand pupils, are open to art students for observation, and in some exceptional cases, for practice in teaching. The Speyer School, with over six hundred pupils, in eight grades, was established as the practice school of Teachers College. Theory of Art Teaching This has been discussed at length in the first part of this article. The course. Fine Arts 5-6, Principles of Design, is a fundamental art course for teachers in which the theory and principles are applied along general lines. In Education 63-64 there is a more detailed study of theory with special reference to teaching. This involves a knowledge of the methods of art teaching which had their beginning in the late 48 'J\\u-licrs cC//(\Ct' Record [180 Renaissance, of the effect of such teachini^. of tlio methods prior to the Renaissance as far as they are known, and of the methods of I h-icntal jieoples. As there are two thstinct j^oints of view wiiich we call '"Academic" and "Synthetic" respectively, it is necessary to distinotiish them carefully and to know their history and practical working. ( )l)ser\ation of ex])ert teaching and of the conditions under which work must be done in elementarv and secondary fjrades prepares the student for practice. Each member of the class arrang^es a tentative course in the form of a lesson plan, with illustrations describing in detail the presentation, and the method of working out each lesson in the classroom. Iiach student also serves as assistant for a specified term, then undertakes a definite course of lessons to be given un- der criticism. The art teacher must thoroughh- understand the organization of the school, and have full knowledge of the character of the curriculum and the principles followed in the general conduct of the school. When there is a natural relation between the art lesson and some other topic the art teacher takes advantage of it. The op- portunities are many to ally the art work wnth history, mathe- matics, geography and literature. Obviously there is an intimate connection between the manual arts and the work in design and drawing. But the art course to realize its purpose must be a unit in its aim. through all grades. Tt must stand, first and last, for growth in critical judgment and appreciation of harmony. Art Course.s for the Elementary School Tt is superfluous to describe courses in detail as they have al- ready been outlined, discussed and illustrated in the Teachers College Record, Vol. VII, No. 4, and Vol. VIII, No. i, in articles by Mary Chevis Upham, and Ethelwyn Miller of the Horace Mann School, but a brief summary will indicate the main lines of work. Kindergarten and Primary Grades It does not seem necessarv to enter upon a discussion of the degree of aesthetic appreciation possessed by young children. If the work in space-art gives opportunity for choice as to size, ar- rangement and color, it is then a beginning of something which in i8i] Traiiiins; in Theory and Practice of Teaching Art 49 a later development will involve appreciation. The question is what faculties will be used by and by in creating harmonies how- ever simple, and how much exercise can and should be given to these faculties in these early stages. If the child arranges a few units in a border ( Fig. 39) or places a little picture on a page he is using a rudimentary appreciation or judgment as to rhythm and fitness that lays the foundation for future expres- sion. It is no more necessary that the design should be applied, -i^-i tutt Fig. 39. Children's Work. Rhythm and lUustration than that a song should be applied. If the child has created a little melody of line or color, complete in itself, he has taken the first step in art. Applications will easily follow, and very natur- ally. "Picture Writin(;." "Free Expression" The academic method introduces a large amount of work in representation, under the headings given above, carefully avoid- ing anything that appears like design. There is no doubt of the value of this free illustration, but it is not strictly art work. It is usually a mere record of fact put down with one purpose only — that of telling a story. This is like the picture-writing of the 50 Teachers College Record [182 savage peoples, and prchisti^ric man. simply statements of oc- currences. Desiijn. for young- children, is sometimes objected to on the ground that it is '"abstract." while the "free expression" is advo- cated because it is "concrete." Mr. Fenollosa has shown that just the opposite is true — the rhythmic l)or(ler. being complete in itself, is concrete while the illustration, inerely giving ideas of "man," "dog," "house." etc., is pure abstraction.^ No one would advise the introduction of pictorial compositio)i into these lower grades. Orderly arrangement will take care of itself provided there is some form of exercise involving good spacing, contrast of tone and simple color scheme — in fact design whether it takes the form of pattern or picture. Upper Grades The children will have had experience in creating in simple ways and are now prepared to study more difficult line themes, to observe more differences of tone, and work them out in scales of three or five ; to observe nature's form and colors and to ap- preciate the color and composition in historic art. Drawing and painting of still life, of animals and figures, and of outdoor land- scape should be practiced. Design may have special applications in the manual arts. House decoration and room furnishing will give practical direction to studies in good form and color. The progressive training through all grades in a perception of fine relations of space, tone and color, and the skill acquired in execution is an asset alike to the one who goes on to the higher grades, and the one who leaves school to enter the ranks of wage earners. The industries need trained minds more than trained hands. Art Teaching for the High School In Vol. Vn, No. 3 of the Teachers College Record Miss Lilla A. Nourse has given a full description of the art courses in the Horace Mann High School, illustrating with pupils' work and explaining the application of synthetic methods. Building upon the training in the elementary school the high school art teacher arranges a progressive series extending over the ^ Lecture Ijefore the Eastern Art Teachers .Association, 1906, by Ernest F. Fenollosa. 183 J 'frainiiii^ in Theory and Practice of Teaching Art 51 five years, beoinnin,Q; with simple spacing-, and ending with some advanced work in full color. In principle, the course would be that of the college course Fine Arts 5-6 simplified. This is a theoretical arrangement for a school in which art is required in all years. But in fact, the art work of secondary schools is not on a satisfactory basis, owing to the disturbing element of college entrance requirements. This puts art in the elective list for the majority of high schools, and makes a consecutive series impos- Fig. 40. High School ; First Year sible. L'ntil the college recognizes the cultural importance of art training, this unfortunate state of things will continue. Happily there are already signs of a change. As conditions are now, the high school art teacher is forced to make each year a unit, or if the classes are small, to give personal or group instruction. Two illustrations will serve to show the character of the high school art course as a training in skill and appreciation. Fig. 40 shows a set of still life drawings, first year, in which the effort is for expressive and forceful line, for quality of touch, for harmony of parts and for suggestion of color. Fig. 41 is a design for a rug, fourth year, executed with wax crayons on gray paper. The 7 I'aclwrs ( Ollcj^c A'rcorJ [184 S -iSi Fig. 4[. Rug Dt 185] 'rraiiii)iii in Theory and Practice of Teaching Art 53 fl^ fff^fimiis^^ .-_ -^ Fig. 42. Textile Patterns. Italian and Spanish I'rocades. Floral l)csis.>n. XVTII Century; the Others Early XVT 54 Ti\u'hcis L'ollcgc Record [i86 first step was a study of the strncturc of tlic ruLr — a question of spacing:; anil proportion. It nnisi liave a centre and a Ix^rdcr. As nnnifs for ilesis^n for centre and border the teacher su,^:- i^ested that the pupils use forms connected with their summer ex- periences. The modification of a form throu_c^h weavinp^ was ex- plained and illustrated. Then the pupils arranged the symbols of their choice in ^c^roups and rhythius. Throui^hout the whole lesson there was the one purpose, to design a nig. and the design was adapted to realize that purpose. This one problem involved c~)bservation of nature, drawing from nature, study of a process and its application in historic art. and an appreciative use of the art language. Line. Dark-and-Light. and Color. EOUIPMEXT OF THE DEPARTMENT OF FiNE ArTS For the work of the courses designated above, the College provides six studios, two of them very large (this number is soon to be increased to nine) an exhibition room and lecture rooms. The studios, work-rooms and shops of the INIanual Training and Domestic Art departments are used in the various courses allied to the Fine Arts. From the Drake collection of copper and brass the college acquired man\- large examples of the finest quality, shape and color. The Ross collection of textiles contains ex- amples of silk brocade, tapestries, embroideries and printed stuffs, illustrating the growth of textile design through the ages. Stu- dents have the use of a loan collection of Japanese prints and books, with the privilege of copying and of using them in teaching. The Bryson Library of Teachers College and the University Librarv supplv all the material needed for research work and historical studv. ALUMNI DEPARTMENT Committee of the Alumni on Publication Ruth E. Dowling, New York Training School for Teachers Jean Broadhurst, Teachers College Clara Kirchwey. Teachers College The Alumni Luncheon. — The Annual Luncheon of the Teachers College Alumni Association was held on the afternoon of Washington's birthday at St. Andrew's Hotel, and a most successful luncheon it was. It was certainly an "all college affair," more than fifty officers of instruction and almost three hundred alumni being present. Mr. Stone, as president of the Association, made a brief speech of welcome and of compliment to the committee of ar- rangements on their successful efforts. He then introduced Professor Wood, who spoke on "The Biologic and Hygienic Aspects of Education." He said in part, "We live at an interest- ing stage of the development of civilization when man is awaken- ing more fully to social and biologic consciousness. Theoretically and philosophically human life is the most valuable thing in the world: practically and relatively it is the cheapest and most neglected. Human beings are the least sound and fit biologically of all the species. Education with its growing recognition of obligation in relation to social values must assume a full share of responsibility for the protection and fostering of health and biologic efficiency of the young in relation to the life of present and future generations. . . . Health, biologic soundness and efficiency are not to be considered in themsleves ends in education or life, but they are essential means to the highest human ends and for their sacrifice or jeopardizing during the process of education no sanction can be found." After showing in detail this relation of biologic efficiency to education and favorably commenting on recent efforts made in 187] 55 56 Teachers College Record [188 New York City by Superitendent Maxwell, Dr. Wood proposed that "provision be made in school administration for (i) Biologic examination of pupils including recommendation to parents and care indicated. (2) Instruction in hygiene, with inculcation of habit of healthful living, in all the grades of school and in higher institutions. (3) Expert hygienic supervision of the entire school environment of which the teacher is the most important part; and supervision of the educative process in the hygiene of in- struction. (4) A comprehensive guidance of the liberal motor training of the young in play, games and other exercises, with an adequate appreciation of the most effective means through the large physical and vital interests of inculcating ethical habits of thought and action." In conclusion Dr. Wood said that "an institution like Teachers ODllege will some time in the future require of all students in addition to Educational Psychology, History and Principles of Education, a composite course to include (i) Principles of Biology and Organic Evolution with (2) Persona! and Educa- tional Hygiene." Professor Suzzallo then, after characterizing the time as a conflict between mediaeval and modern ideas, urged upon the alumni three things which are modern : ( i ) an external view of things, a large and extended social view which comes from knowledge of the world; (2) a thorough-going American per- sonality, including all the elements of our American civilization which are best worth preserving, and (3) a more playful (Dean Russell later suggested "sportive") personality. After conveying to the alumni the greetings of those who were working out Teachers College ideas in other and more remote fields, announcing that m-ore than half of the new students in the University last year came to Teachers College; (2) that gifts amounting to $600,000 had been given for buildings and endowment, and (3) that Teachers College came into practical ownership of the dormitory between 120 and 121st Streets, and after commenting on the significance of personality in teaching. Dean Russell closed by saying that the watchword of Teachers College was "Service." Professor Woodhull, Miss Daniells, Professor Nutting, Pro- fessor MacVannel, also spoke. Professor Dodge concluded with a tribute to the unity and loyalty of the faculty, which had never 189] Alumni Department 57 divided its vote on any question during the ten years of Dean Russell's leadership. Mrs. Wheelock of the Horace Mann Schools then told a story, and the meeting was over. Among guests especially welcome were former professor Castle who returned from Colorado with renewed health and strength, and former professor John F. Reigart, now of the New York Public School system. LETTERS FROM ALUMNI The Faculty of Education at the University of Toronto. — Until the present year the work of training teachers for the schools of Ontario was carried on by a Normal College situated at Hamilton. Recent legislation, however, caused the discon- tinuance of the Normal College at the end of the session 1906- 1907 and the establishment of faculties of Education in connec- tion with the Provincial University at Toronto and Queen's University at Kingston. At Toronto the present organization provides for a Dean and an Associate-Professor, who give all their time to the work, and some thirty to forty supervisors, lec- turers, and critic teachers drawn from the staffs of various ele- mentary and high schools in the city of Toronto. The present enrollment in the faculty amounts to some two hundred and twenty-five students, about fifty of whom are university graduates, and fifteen extra-mural. Certain elements ni the work differentiate it from that in most of the American colleges and universities which have established Departments of Education. Little or no election of courses is allowed, even in the advanced course taken solely by university graduates. Each student decides as to the special character of the certificate he desires and thenceforward follows a definite schedule laid down by the Education Department of the Province. In the second place. Observation Work (some fifty lessons) and Practice Work (some twenty lessons) is required of all. Again, very little work of an academic sort is undertaken. A few students who have not completed their Arts work, or who are aspiring to the degree of Master of Arts, take a lecture or two a week outside of the Faculty of Education, but that is all. Plans are now under way for the erection of a Teachers Col- 58 Teachers College Record [190 lege buikling with practice schools in addition, the latter to accommodate some one thousand elementary and high school pupils. It is expected that the building will be ready for occu- pancy by September, 1909. It is generally felt that the recognition of the work in Educa- tion as a University study, and the bringing of so many prospec- tive high and public school teachers into direct contact with University life, means much for the attainment of higher educa- tional ideals in the province. It certainly gives the University a much larger opportunity for effective service to the community at large. H. T. Coleman, Ph. D., 1908. It is a rather difficult thing for a man to give a public state- ment of his own work. As Professor of Psychology at the University of Virginia I am responsible for all the instruction given in Psychology at the University. In the next place, I have a form of executive work which is administrative in character, and refers to education in the South generally and to Second Education in Virginia particularly. It is probable that I have rendered more service through this avenue during the last three years than any other. A third form of work comes to me as Director of the University of Virginia Summer School, which directs its energies towards the needs of the high school teachers of the South, and has been favored with increasing success from year to year. Bruce R. Payne, Ph. D., 1904. My work upon leaving Teachers College was that of principal of the Elementary Department of the Winona State Normal School. This included instruction in general method and peda- gogy. After four years of this, upon the resignation of Dr. Millspaugh, I was called to the presidency of the school. The faculty numbers twenty-five teachers, and our student body reaches, with our summer school enrollment, something over 500 each year. For the last six or eight years our average yearly output has been 150 graduates. Teachers College alumni fill several important positions in the school. G. E. Maxwell, M, A., 1899. 191] Alumni Department 59 In my regular work at Wake Forest College, N. C, I am giving three courses in Education, one course each in School Administration, Educational Psychology, and History of Educa- tion. In addition, I am Supervising Superintendent of the Wake Forest Public Schools, thus bringing about a closer relationship between the College and the community. I have just finished the third lecture in a series of six on "How to Study," given each Friday afternoon to all students of the College who may wish to attend. J. Henry Highsmith, 1902. Bradley Institute is a polytechnic school giving high school work and two years of college work of such quality that credit is given in such institutions as the Chicago University and the University of Illinois. In addition to this, there is, in the de- partment of Manual Arts and Domestic Economy, a course for the training of teachers. All girls entering the high school take sewing one hour each day during the first and second years, and cooking during the fourth or fifth year, and if they so elect, they may continue the work in either branch of domestic economy during the sixth year, and then by taking another year's work may complete the course for the teaching of domestic economy. Students entering from other institutions where the training has not had this in view must devote two years in advance of a good high school course, giving most of their time to domestic science and art, with certain electives from college subjects. Courses are oflfered in sewing, dressmaking, textiles, house construction, sanitation and decoration, cookery, food and dietetics, home nursing, house- hold management, and in the theory and practice of teaching domestic economy. Courses in biology, bacteriology and chem- istry especially related to domestic science, are given in those departments, and instructors in manual arts and fine arts co- operate in the course in house construction and decoration. The entire third floor of the main building is devoted to domestic economy, including the school lunch room which is under the supervision of the domestic science department. There are three teachers besides myself in the department at present. Five young women complete the course for teaching domestic economy this year, and the prospect is for a much larger class 6o Teachers College Record [192 for next year. Several are already looking forward to doing some further work at Teachers College or at the University of Chicago. Miss Kinne's visit to us in January was a great pleasure and inspiration. All Peorians take an interest and pride in Bradley, and there is much demand for special classes in sewing and cooking. In fact, Illinois as a State is very wide awake with regard to this phase of education. There is a well organized and flourishing domestic science association in affiliation with the State Farmers Institute. I had the pleasure of giving one of the addresses at the annual meeting in February, and was delighted with the general interest shown, and with the report of the work that is being done throughout the State. Helen M. Day, B. S., 1907. The feature of my work as professor of Sociology and Economics at Kentucky University, which is perhaps best deserv- ing of mention, is a course in Kentucky Sociology which promises to be of definite value in the development of interests and ideals for the State. George A. Hubbell, Ph. D., 1902. As Assistant Professor in Philosophy and Psychology at Lehigh University, I have recently added three courses in Educa- tion to the work of the department, and started an evening prac- tice school which is in successful operation. Percy Hughes, Ph. D., 1904. 193] Alumni Department 61 RECENT APPOINTMENTS Anna L.. Alline, State Inspector Nurses Training Schools, 132 Lancaster St., Albany, N. Y. Mary Louise Bancroft, History, Bennett School, Millbrook, N. Y. Chas. J. C. Bennett, President, State Normal School, Fairmont, W. Va. Rufus C. Bentley, Dean Collegiate Dept., Clark University, Worcester, Mass. Alma Binzel, Kindergarten Director, Stout Training School, Menomonie, Wis. Jesse H. Coursault, Educatio*i, University of Missouri, Columbia, Mo. M. Bertha Fletcher, Domesti; Art and Science, State Normal School, Warrensburg, Mo. Peter P. Garner, Mississippi Mechanical and Agricultural Col- lege, Starkville, Miss., Prin. Acad, Dept. Eunice Goddard, is studying French and German abroad for two years, preparatory to teaching German at Holyoke College. Joseph M. Gwinn, Professor of Education, Tulane University, New Orleans, La. Anna Hedges, Principal Hebrew Technical School for Girls, 15th Street and 2d Avenue, New York City. George A. Hubbell, Sociology, Kentucky University, Lexington, Ky. Frances Jenkins, Director of Practice Teaching, Baltimore. G. W. A. Luckey, Pedagogy, University of Nebraska, Lincoln, Neb. Mabel Lutes, Domestic Science, Memphis, Tenn. Guy E. Maxwell, President State Normal School, Winona, Minn. Ida Merker, Superintendent of Nurses, Good Shepherd House, Syracuse, N. Y. Edith Muhs, Superintendent of Copper Mining Hospital, Tri Mountain, Mich. S. Gay Patteson, Associate Professor of Mathematics, Sweet Briar College, Va, Mabel L. Robinson, American College for Girls, Constantinople, Turkey, 62 Teachers College Record [194 Alice Smith, Superintendent of Nurses, Asbury Hospital, St. Paul, Minn. Merle M. Stephens, Domestic Art, Alabama Girls Industrial School, Montevallo, Ala. Samuel Sung Young, President College of Foreign Languages, Canton, China. Mary L. Tuttle, Dean of Women, University of Tennessee, Knoxville, Tenn. Cree T. Work, President College of Industrial Arts, Denton, Texas. William Zumbro, President American College, Madura, India. 8«94 in I.INIVERSITY OF CALIFORNIA AT LOS ANGELES -••T •iNlVFr>SITV I.IPPARY 974 UNIVERSITY OF CAUFORNU AT v^ 3 1158 00788 8778 UC SOUTHERN REGIONAL LIBRARY FACILITY AA 001 172 928 2