54 THE THIRD YEARBOOK 



afford continued entertainment, and through their curious habits 

 initiate the children into some of the most interesting of Hfe's 

 mysteries. Fig. 6 shows some of these studies. One is that of 

 a caterpillar that found its way into the schoolroom, and in seeking 

 the upper corner of the window frame in order to spin its coccoon, 

 for reasons possibly known to itself, certainly not to the observers, 

 it spun for itself a kind of Jacob's ladder on the zvindow pane, by 

 means of which it climbed to its destination. 



Another is that of the sand spider which the children dug out 

 of a sand dune at a depth of two feet. This little creature had 

 walled up its chimney-like burrow with a finely woven web which 

 prevented the loose sand from caving in upon it when, relatively, 

 as far below the surface as a man would be in one of our deepest 

 mines. 



A third study shows the larva, a caterpillar, which has itself 

 become the unwilling and luckless host that supports two or three 

 score of smaller larv^, which now have spun their tiny white 

 coccoons on the outside of its miserable and shriveling body. A 

 fourth shows how some of the insects have successfully run the 

 gauntlet so far as to be snugly ensconced in their winter garments 

 — the coccoon. But whether they shall escape the lynx-eyed, hungry 

 blue jay, and emerge in the springtime in the glorified garments 

 of their final transfiguration, no one can tell. 



II. DRAWING. 



There is a good deal of confusion in the minds of most teachers 

 as to the relations of painting or color- work to drawing. It is 

 evident that both modes of expression, as such, have certain ele- 

 ments in common. For exam.ple, form in two dimensions must be 

 expressed by both. It is equally clear, though, that there must be 

 some points of fundamental difference, and the failure to recognize 

 these leads to undiscriminating and vague use of both. The func- 

 tion of any mode of expression depends upon the nature of the 

 image. In this case it would seem, therefore, that when the func- 

 tion of the thing observed is expressed through color, wholly or 

 chiefly and the image thus is largely visual painting is the proper 

 mode to be adopted. But in cases when the color is secondary in 

 denoting function, and when outline is primary, and the image is 

 therefore chiefly motor, then drawing is the most direct mode to 



