forms and the merits of good forms. Require your pu pils to make on the blackboards the capital letters on a large scale, and let them criticise one another.

13. Do not attempt to make the older scholars write a uniform "copy-book hand," but let them form their own characteristic style. The main thing is to make every letter legible.

14. "Writing, like spelling and grammar, is capable of self-development, but not unless many of the books prepared upon purely mechanical principles give way to blank books or sheets, which our children may use with greater freedom of hand and of the will that guides it. The days of copy-setting were better than those of copy-engraving, for this reason, if for no other, that the teacher wrote for the pupils, as well as the pupils for him. If he went further, and encouraged them to write out passages in prose or verse, perhaps helping them a little in their choice, then those days were a great deal better, and we had better revive their practices."-Superintendent Eliot.

15. "A corrupt taste in regard to writing has been for several years gradually creeping into our schools. This corruption consists in the substitution of a slender, faint, and weak kind of writing, with certain outlandish and fanciful capitals, for a good, honest, plain, neat, firm, clear, legible, strong, and regular hand."-John D. Philbrick.

II. HINTS ON DRAWING.

1. In schools where a series of text-books on drawing is adopted, teachers must master the instructions, require their pupils to fill out the drawing-books, and teach according to the system.

2. But there is no good reason why the "book-work,"

often a piece of drudgery, should not be supplemented or introduced by exercises in harmony with the child's taste. "Send the primary children to the blackboards, and let them learn to handle a crayon by drawing anything they choose. A rude outline of a ship delights the miniature man more than a geometrical figure does. The little girl draws a rough house, but she invests it with wondrous beauties. Allow full play for what most drawing teachers are pleased to term 'barbaric art.' The child is a young savage; let him pass through the barbarian stage before entering upon the scientific and artistic."

In country schools, where no regular course of drawing is adopted, the teacher has a wide field for the exercise of tact, skill, and judgment. In addition to elementary exercises previously mentioned, the first four books of Krusi's Drawing Series will furnish excellent copies which can be put upon the blackboard.

Speaking of the Prussian schools, Horace Mann says, "The child is taught to draw things with which he is familiar, which have some significance, and which give him pleasing ideas. The practice of beginning with making inexpressive marks bears some resemblance, in its lifelessness, to that of learning the alphabet. Each exhales torpor and stupidity to deaden the vivacity of the work."

3. Supply the little ones with a "Kindergarten slate,' ruled in small squares. The directions for its use are so simple that any teacher can understand them in an hour. "The simpler lessons of drawing," says Bain, "are obviously easier than writing; while the making of symmetrical shapes is more agreeable than forming letters. Probably the natural course to follow would be the method of the Kindergarten, which is to train the hand upon mould

ing objects in clay, followed by cutting out paper figures, and gradually leading up to elementary drawing; after which writing would come with comparative ease, but would still be a considerable step in advance, like beginning a trade."

4. Children prefer blackboard drawing to exercises on slates or paper, because their drawings are on a larger scale, and because their work can be seen by the other children. Direct their feeble efforts, but leave full play to individuality. One may take to ships, another to dogs, a third to horses, a fourth to flowers.

5. Violate all laws of the old-type drawing by encouraging the children to bring in a box of paints, and then set them to work at coloring all the old picture-books and wood-cuts that you can collect.

III. QUOTATIONS FROM EDUCATORS.

I. "The spreading recognition of drawing as an element of education is one among many signs of the more rational views on mental culture now beginning to prevail." -Spencer.

II. "I look to music, drawing, natural-history lessons, elementary science, and object-lessons, to protect our children from over-education, and to make them love their childish work; and were there no other reason for the introduction of such subjects into our common-schools than that, it seems to me that it would be reason sufficient.". Professor Walter Smith, State Director of Art Education for State of Massachusetts.

III. "It is now understood by well-informed persons that drawing is an essential branch of education, and that it should be taught to every child who is taught the three

R's. It is indispensable as an element of general education, and it lies at the very foundation of all technical education. It is difficult to conceive of any human occupation to which education in this branch would not prove beneficial. Everybody needs a well-trained eye and a well-trained hand. Drawing is the proper means of imparting this needed training. Drawing, properly taught, is calculated, even more than vocal music, perhaps, to facilitate instruction in all other branches of education."— John D. Philbrick.

IV. "Commercially speaking, the power to draw well is worth more in the market to-day than anything else taught in the public schools; and education in industrial art is of more importance to the development of this country, and the increase of her wealth and reputation, than any other subject of common-school education. The intelligent, well-educated draughtsman is prepared for work in the great majority of industrial occupations, and in every country of the civilized world, wherever a workshop exists."- Walter Smith.

V. "Drawing," says Superintendent Dickinson," has for its object that training of the hand and eye which lays a foundation for skill in the arts. Such training leads to that appreciation of art necessary to create a demand for its products; it leads the mind to make a more careful examination of objects of study; it furnishes the best method of describing those objects that have form and size; it has a refining influence by cultivating the taste; and it improves morals by exciting a love for the beautiful."-John W. Dickinson.

CHAPTER X.

MISCELLANEOUS MATTERS.

I. MUSIC.

1. "Or all the fine arts," says Bain, "the most available and influential is music. This is perhaps the most unexceptionable as well as the cheapest of human pleasures."

2. Open and close your school with singing. If you cannot sing yourself, make up a small singing club, and let the leader conduct the exercises.

3. Train your pupils carefully in respect to the following points:

I. The proper position in singing.

II. The right management of the breath.

III. Singing with open mouth.

IV. Melody.

II. MANNERS.

I. Children are supposed to learn manners at home, or to take them on unconsciously from intercourse with their schoolmates; but it is exceedingly desirable that manners should be made the subject of definite instruction in every school. It is said that the winning manners of Henry Clay were owing, in no small degree, to the careful training of one of his early teachers.

II. "A beautiful behavior is the finest of the fine arts." -Emerson.

III. "Give a boy address and accomplishments, and you