74 
RERAMIC STUDIO 
but before these papers are concluded we think that we shall be 
able to demoiistrate that anyone of ordinary intelligence, 
without ciny previous knowledge of drawing, will have ac- 
quired an idea of form and its expression which it would have 
been impossible to attain by any other method in a course 
extending over several years. 
The classical designs of the Greeks, the Etruscans and the 
Egyptians were all produced by brush work. The Japanese 
use the brush exclusive^ and no one, however much he may 
cling to old traditions, will deny them the distinction of being 
the foremost decorative artists of the world. In England, 
aided bj^ such men as Lewis F. Day and Walter Crane, the 
school is rapidly growing in favor, though at first discoun- 
tenanced by the South Kensington Museum, a powerful 
factor in the dissemination and encouragement of art in 
England.. This institution which represents the Committee 
of Council on Education, makes yearly grants to the various 
schools, awards prizes and scholarships and fosters art generally . 
The opposition to the movement was therefore keenly felt, 
but in spite of this it continued to grow and several large 
cities refused the grant because of its opposition to brush 
work and themselves provided the necessary funds, the city of 
London taking the lead in the movement. Finally wiser 
counsels prevailed at South Kensington, or perhaps to be more 
accurate, they were forced by the strength of public opinion 
to acquiesce in it and within the last four years shading from 
the cast has been gradually dropped. Drawing in outline from 
the cast has been whoUj' discarded in the examinations for 
head masterships, and the students' examination in outline 
last year had to be executed with the brush. 
In the school of Art at Longton, Staffordshire, in charge 
of Mr. F. H. Rhead, there was a class of from seventy to one 
hundred day school teachers taking lessons in brush work, as 
the Board of Education has made it one of the subjects to be 
. taught in the public schools. 
In America the subject has not had the attention it de- 
serves, though Mr. Liberty Tadd of Philadelphia, Mr. A. Dow 
of Brooklyn and Mr. J. Hall of Springfield, Mass., have all done 
good work in this direction. But the subject is of sufficient 
importance to demand concerted action in all the art schools 
of America and the Keramic Studio therefore feels no hesita- 
tion in asking that these articles be brought to the attention of 
teachers and principals of Art Schools, whenever a chance of 
doing so presents itself to the reader. 
Too much stress cannot be laid upon the importance of 
teaching the use of the brush to children, even those in elemen- 
tarj^ classes, for if a child recognizes a letter by its shape and 
laboriously learns to draw it, how much easier will it learn to 
