ART KDIXWTIOX. I 35 



degree of accuracy iu stating these fundamental properties of 

 height and width and direction of shapes, and the depth or 

 intensity of color are much more work for teacher and pupil 

 than "playing at artist," but it is good, wholesome work, 

 with good results to show for it, and not a kind of play less 

 healthful than games out of doors. 



Our concurrent duty is to see that these objects and stand- 

 ards are good as well as distinct. Fortunately this basis for 

 the development of good sense in design is as easy as it is 

 necessary. The ordinary useful utensils and tools, cups, 

 pitchers, baskets, are good and distinct just in proportion as 

 they are ordinary and useful, and just in proportion as no 

 conscious idea of design went into their making. They are 

 expressive in a high degree because their purpose is expressed 

 in the simplest and frankest way in a suitable material used 

 with strict regard to economy with strength. 



Among natural forms, those that are especially character- 

 istic, those that we say have shape, rather than those that we 

 call shapeless, are to be preferred. It is easier for a child to 

 make a drawing that might be like some potato than to make 

 a drawing that might be like some turnip, because " turnip- 

 shaped " means something, and for that reason, to draw the 

 turnip is an exercise that is worth the time. Our common 

 speech gives us sufficient hints, we saj' pear-shaped, turnip- 

 shaped, and so forth, but we do not say potato-shaped, for 

 that means too many things, and is too vague to be useful as 

 a definition. To make a drawing like a particular potato 

 would be a problem too difficult for the average child by 

 reason of that vagueness of form. 



When it comes to a question of conscious design and of 

 ornament, we must remember our weakness and be wary. We 

 may, however, confidently lay stress on the exact observation 

 of the simpler examples of the great periods, as the way toward 

 the understanding of visualized expression at its highest point. 

 The Greeks have left us admirably simple designs which are 

 ])erhaps the only ornament which all are ready to accept as, 



