thus become necessary to one who would know this constructive cosmos which forms our environment.

These, then, are the forces which have caused the birth of the arts in the schools. Their teaching has been born of necessity. The modern curriculum has had to yield to the resistless pressure of an educational philosophy which requires that each pupil be brought up along the lines of his natural growth to a knowledge of the civilization in which he lives-and further, to a knowledge of the forces which have brought such civilization into being. Such teaching seeks to make him realize his place in the world and prepares him for united action with his fellows, by whose help he is taught to profit. It brings home to him his social relationships.

Further, this educational doctrine preaches that the child when brought to a comprehension of his environment should be trained to social service, that he may know his power to control and modify his surroundings for the betterment of himself and of his kind.

The early development of the arts saw them introduced as specialties. Each art stood as the representative of some peculiar skill which its advocates desired to see cultivated. Thus drawing was taught for drawing's sake. The designs made, however beautiful, served no useful purpose-constructive exercises were mechanical drills. Each was an art taught for art's sake. The seal of the pedagog who worships learning for its own sake is still stamped on courses of study thruout the country.

Thru formal training in the arts the child never gains conscious power to draw, design or construct to any useful purpose. He but learns to make a neat exercise-one which wins the applause of the crowd at the school exhibition, but one with very little of the child himself in it. Technical knowledge thus inculcated, without conscious power to direct it, is all but valueless. He learns to think of his interests and his capacities as two quite unrelated possessions, the latter never responding to the demands of the former.

The arts, moreover, came to a curriculum in which there was no strong coherence among the branches which already formed it. The curriculum stood, as indeed it still stands, as an association of sub- ́ jects rather than a strong and homogeneous union. With the fundamentals segregated and specialized, it is not unnatural that the arts and their technical requirements should early have been conceived as ends and not means-as agents designed to give special

skill rather than as instruments for giving to the child with a general development a knowledge of the world in which he lives.

The one great desideratum of the arts is that they shall be taught for use. The great drawback to their development has been that they have not been so taught. Not as technical drills do they reveal their value, or in exhibitions of mere artistry. Only when they are identified with the child-life can their peculiar functions be properly realized. Classroom lessons in the arts must reflect classroom needs. Their development in any curriculum depends upon their coördination with the other branches with which they are associated.

The exaltation of minor technical requirements cuts them off from the curriculum at large and separates them one from another. The need has been for a common center or growth point in the course of study. To the class teacher without such reference there can be little suggestive in the direction "correlate and develop the course of study." The cross references she makes in obedience to such command are bound to be more or less forced and artificial. Her lessons on the arts appear with far-fetched associations-designs are drawn for textiles never to be woven, and working drawings are made of desks and tables never to be built. This pretense at a relation of the problem to the child's interests and surroundings deceives him not a whit. The things he designs and plans are not to be made and he knows it.

The educational philosophy which preaches the arts preaches the child as the motive force in the curriculum. It offers in place of an imperfect system of correlation a definite scheme of work based on the evolution of the pupil's mental processes and on the development of his mental powers.

The teacher's success in relating the arts to each other and to the other branches of the curriculum will depend upon her skill in discerning in the school room work opportunities for the enlistment of the child's interest; will depend on the closeness with which she identifies the arts with the daily round of the pupil's small but ever growing world. Once this identity is established the warm blood of mutual relationship will circulate throughout the course; transfused to the arts it will establish their kinship and assure their standing. The success of the teacher is thus in largest measure dependent upon the extent to which she is prepared to go in developing in her pupils specific forms of activity growing out of needs made evident

in class room work. Much importance must attach to her comprehension of the principles underlying this instruction. She herself must play an active and essential part in determining the exercises to be presented. She becomes an agent to shape the details of the course of study. This fact is one of impressive weight. It recognizes that self-activity on the teacher's part is as necessary as in that of the child. The personal initiative of the teacher is the force which must adapt the drawing, construction and design to the development of the class work in nature study, language, history and geography.

The teacher who thus co-ordinates the special branches of the course of study aids in making such course more simple and more rational. For her the constructive work, the weaving, the braiding and sewing, are not mere finger calesthenics, nor are the drawing and design twin "art studies" of a hazy purpose which evidences itself but too often in a desire to secure mere prettiness of result. The arts properly taught are educative for both teacher and child. The former must study the bearing of each element in the courses of study. She must develop the problems she offers in a natural sequence, and not in one artificially designed to conduct the child thru exercises laid out in some rigid order-one in which the pupil is left to chance to plan and do for himself. She must remember that it is not perfection of technique which is soughtdesign for design's sake or construction for construction's sake-but an opportunity for the worker to express himself along some line he understands and willingly, anxiously follows because his interest. leads. This she must particularly bear in mind when presenting occupations like weaving, braiding, sewing, embroidery, crocheting and basketry, in which the muscular coördinations are simple and the developmental value of the exercises limited.

It must be plain, therefore, that to the teacher thus employing the arts directions cannot be offered as to the very exercises which will serve to coördinate the different branches of the curriculum. A syllabus may present to her series of lessons suggestive of the order of technical procedure, abundant illustrations may be placed in her hands that she may have a variety of material readily accessible, general steps and operations may be suggested; but all this done, the specific problems which she elects should be her own, devised by

herself and determined by the materials which she has at hand and the general curriculum which she must follow.

The teacher may wisely learn to call upon the child himself for suggestions both as to problems and as to their solution. She must not set the pupil to do what he cannot do well, but set him to do what he can do well; and show him how. "No mechanism" must be her watchword; the child must never work blindly from direction. Rather he should after instruction be permitted to experiment at the cost of additional material than be held with his fellows in the shuffling lockstep of the dictating exercise.

The pupil's drawing he must use as a medium of illustration as well as a means of acquiring knowledge of form and perspective. His design, whether structural or applied, must rise from the necessity for its employment. It must practically acquaint him with the laws of beauty of form and proportions, with the principle of balance of rhythm and harmony, as they enter into the structure and decoration of things for use. It must lead him to appreciate the work of the artist and skilled artisan as it appears in our every-day surroundings. His working drawing, too, must go hand in hand with his lessons on design, not as a mere exercise with compass and T square, but as a necessary step, preliminary to the completion of a model which has been planned for actual construction.

Thru his "making," the child is led by a network of paths into the social life which surrounds him. Such work relates itself to innumerable interests which may be developed in every classroom, no matter what the course of study. The child may thus review the simple occupations which were the industries of primitive man, may be brought to consider some center of immediate interest in the room, or some form needed in the school or useful in the home. He may make toys for his games, bits of apparatus to illustrate, school room experiments, boxes for specimens, racks and appliances without number. He may reach out into the busy life around him and apply. his lessons in number and the elements of physics and mechanics in models of machines of world-wide use. The value of each problem will depend upon the extent and variety of its contact with the child, and the number and diversity of the occupations involved. Each problem should be of immediate concern to the worker that at the age of fourteen he may, in the words of G. Stanley Hall,

"know something of a number of industries and be able to make several dozen things he is interested in."

How far, it may be asked, is the practice thus advocated possible in the ordinary classroom under a course of study of familiar outline? Undoubtedly to a considerable and very desirable extent. Naturally a greater amount of attention may be given to the pupil of the small class, and a greater amount of individuality in class work thus secured, but the size of the ordinary class is no bar to the successful employment of the principles. What is necessary is neither small class nor peculiar knowledge of tools and processes on the teacher's part. The essential thing is the point of view. Once the teacher is convinced of the necessity of using the arts as a key to unlock for the child the gate to the broad fields of social interest, the road to her own success opens before her. Once she herself gains the constructive point of view, the arts become her willing allies, ready at every turn with suggestion as to forms which the child may make in response to his manifold interests in the seasons, the holidays, in nature and in man.

Commonly dissertations on the arts are filled with statements made in behalf of their character values. Little has been said of this here, as it is taken for granted that a system which has incorporated the arts in its schemes of study needs no proofs of the value of their influence upon the nature of the developing child. "Character," said Baldwin, "is a disposition for action. It is in part hereditary, in larger measure a product of habit and environment. A training in character must be a training in habits." Surely in such training the arts can play no small part. The work place itself, whether shop or classroom, is one where the laws of cleanliness, order and system prevail. In it the pupil learns to plan and to execute-in it learns the habits of foresight and imitation of original effect, direct responsibility, energy and perseverance; has held up before him ideals of patience and thoroness, learns order and system, appreciation of beauty and honest work-and above all, respect for labor, aye, love for labor. Inculcating these virtues, the arts may surely be claimed to be no mean developer of habits. Surely the boy who pursues them will be a boy rightly disposed for action.

The arts must be conceived of as necessary aids to the child's social, mental and moral development. They do not pretend to train either artists or artisans, but they do lay an invaluable foundation