Ix these talks on flower-painting I have addressed myself chiefly to m\- 

 fellow-students in Nature study, and, therefore, perhaps I have rather 

 ignored the elements of first practice. But, in talking over our subjects, 

 Miss Klickmann and I have come to the conclusion that an article 

 written especially for beginners might not only be useful to new recruits 

 in the ranks of flower-painters, but to those of us who may also wish to 

 give instruction to others. Therefore, in this chapter, although I am well 

 aware I lay myself open to the accusation of having " put the cart before 

 the horses," I shall say a few words about first beginnings in Art, those 

 beginnings that are all-important to the student, and which show, even 

 from the earliest times, the capacity for, and love of, Art, that with the 

 very necessary attribute of perseverance make for future success. 



Most young children learn a little drawing, even in their 

 " Kindergarten " days, and as a training for eye and hand, and, above all, 

 for impressing the memory, it is an excellent method. But the child 

 who has a latent talent will go further than this, his pencil has so great 

 a fascination for him that every scrap of paper within his reach is covered 

 with the curious forms and shapes evolved by his childish bram ; at 

 first so rude and rough that their meaning and intention is so obscure as 

 to be quite unintelligible even to the fondest and proudest parent, but 

 gradually as his perceptive faculties develop, showing not only an 

 intelligent idea of proportion and line, but wonderful flights of 

 imagination as well. 



It is well to encourage these early eff'orts, and not to be contemptuous 

 even if the youthful artist has attempted a subject a great master might 

 approach with awe. There is no irreverence really in those travesties of 

 great subjects treated so naively ; the little brain has adapted the stories 

 of old to his own limited understanding and his own time, and to him 

 this conception is very real and true. 



I think, however, it is a good plan, without attempting to cramp these 

 •weird flights of composition in any way, to encourage a child to draw the 



He is deal who has never heard 

 the singing ol the blades of grass. 



E. GOjson, 



95 



