258 Fifth Conference 



fairly typical of the groups of studies, and to utilize 

 as fully as possible the country excursions; (2) we 

 correlate the study with drawing, brush-work, and 

 clay-modelling. (If any of my audience desires more 

 detailed information, there are copies of our scheme 

 at Salisbury among our exhibits here.) 



May I say a few words on this correlation with 

 drawing and brush-work? We know that in early 

 stages of childhood language expression is more 

 readily preceded by sense expression following im- 

 mediately on sense perception. The child observes, 

 imitates, and reproduces the sound the cry of the 

 cat, the bark of the dog, the lowing of the cow, and 

 the like. The eye, even more readily than the ear, 

 observes, compares, discriminates. Here comes in 

 the educative value of the modelling, the brush, or 

 the pencil, which enable the child to express form 

 and colour, its sense of proportion and relation. 



Drawing has hitherto been much too conventional 

 and mechanical. I dread to think of Jiorresco 

 referens those dreary infants' exercises, the niggling 

 with little squares, the counting and the dotting no 

 intelligible mind picture before the child at the outset, 

 no original effort to express it, but an unintelligent 

 carrying out of the teacher's orders. Then comes the 

 guessing what is represented. " A street lamp " (that 

 ubiquitous street lamp!). No. "A letter-box." No. 

 <( A chimney-pot." That's better. (Silence.) " Well, 

 I must tell you. A man's hat." Teacher triumphant. 



What we want to have the teachers think about 

 Art is, that it can, and does, set us to work on the 

 pleasurable things, the inspiring things, the beautiful 

 and true, whether in Nature or man's work, or in 



