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begin at the proper time; but drawing, demanding considerably more practice, should be commenced much earlier, in order that facility of execution may be obtained in time to make it available for the cultivation of those branches of instruction which demand its assistance, and also that excellence may be attained in it within the usual period of education. This will be the more easily done as the practice of sketching, from the variety and the nature of the objects to be imitated, from their familiarity, their significance, and the pleasing ideas they awake, is infinitely more interesting to children than writing, which always presents the same forms. Not only is it more interesting, but the first steps in it are easier, because its elements may be simplified at will; the taste of the child may be consulted in the choice of the model; and he may, as he proceeds, efface and amend, until he brings out a pleasing production. These are all elements of success and inducement to the child, which are not afforded by the practice of writing.

Nature admirably favours the early learning of linear drawing children, from the most tender age, evince a strong desire to sketch familiar objects in their complete form; they delight in imitations which speak to their imagination; but all interest would be lost, if they were desired to draw only detached parts of objects. We should, then, on this point, follow the dictates of nature, and present at first to the child complete but simple forms. In this, as in everything else, the learner must pass gradually from the simple to the complicated. It is by attending to the general outline of a model, whether an object or a copy, and subordinating the details to it, that the eye is educated, that the proportions of the whole are understood, that harmony is introduced in the arrangement of the parts, and that a bold and rapid execution may be acquired. The means are thus made consistent with the end; for either in pictorial or in literary compositions, the artist or the writer, first sketches his subject, and afterwards successively attends to the distribution of the parts, and to the finishing of the whole. It must also be borne in mind, that drawing from nature is one of the ends proposed; the objects themselves must therefore be early presented for imitation in their various aspects; this will accustom the eye to judge of their forms and proportions, as also of the effect of light and shade, better than could be done from drawings and paintings: but, as it is useful to study the manner in which eminent artists have themselves represented those objects, the

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learner should sketch sometimes from nature and sometimes from approved original works.*

The learning of linear drawing is the more practicable under any circumstances, as it is not requisite that the instructor should be a perfect draughtsman: his office is not to correct the errors of his pupil, but merely to make him perceive them by a comparison of his own copy with the model, and thus to put him in the way of amending them himself. What the teacher needs is a correct eye, and sufficient taste and discernment to present none but fit models to the learner. If the professor, in giving his directions, always use the technical terms which refer to the art, and call by its name every part of the model or copy which is the object of imitation, not only will the child be furnished with materials for conversing with discernment on the interesting subject of the fine arts, but his vocabulary will be considerably enriched in various other departments, according as he sketches geometrical figures, architectural designs, landscapes, flowers, animals, human figures, &c. Thus are observation, language, and drawing combined in one exercise.

SECT. VII.-DRAWING AND INSTRUMENTAL MUSIC COMPARED.

Drawing and music, in order to be carried to any degree of perfection, would, each, demand the exclusive attention of a learner. The simultaneous pursuit of these arts would not permit him to attain the superior skill which it is desirable to possess. In general, and among females especially, the preference is given to instrumental music; because it draws on the performer loud applause, as it excites in the hearers a very lively pleasure; thus tending effectively to move the springs of vanity, from the power which it gives of riveting the attention of an admiring crowd. Music is, in fact, an art which seeks publicity; whereas drawing and its kindred art, painting, delight in retirement. These are more modest occupations; and, as a natural consequence, they are attended with less bodily fatigue or mental anxiety. The observations which we have made on these three arts would suffice to prove the error of those who sacrifice

*M. A. Dupuis, an eminent professor of drawing in Paris, has, in his method of instruction, happily combined these two principles, namely drawing from nature and passing from the simple to the complex. See his work De l'Enseignement du Dessein sous le point de vue industriel.

drawing to music; but, to render this error still more obvious we will establish a parallel between them.

Drawing and painting, as useful arts, claim a decided superiority over music, which is a mere accomplishment. The draughtsman, or the painter, may instruct as well as please; the pianist can only divert us. The cultivation of musical talent, requiring much time, and being unattended with useful results, is generally abandoned by females as soon as they have the care of a family, and by men as soon as they enter upon the business of life. Drawing may always be indulged in; it demands less time, and, in the hands of a mother, it is a powerful auxiliary to explain a thousand things to her children; in the hands of a man, it is of practical utility in all situations. If a skilful musical performer neglects for a year, or even less, the practice of his instrument, he becomes unwilling and almost incapable of performing; but, when we have once known how to handle the pencil and the brush, we may, after a lapse of years, take them up again with pleasure and dexterity. These arts are more available than music in all circumstances of life; for they may be practised at the bed-side of the sick, or in the same apartment with persons engaged in serious occupations; and they permit the artist to attend, as he is working, to the conversation of those who surround him. Music is debarred from these advantages. But, not only is drawing more available and more beneficial in every way than instrumental music, it is also more accessible to all classes of people, because the study and practice of it is less expensive-an advantage of no mean importance in a community in which accomplishments are not expected to be the exclusive privileges of the wealthy.

The enjoyment procured from the performance of an instrumentalist does not last longer than the time of execution, and does not extend beyond the persons who stand within hearing; the pleasure procured from a good drawing, or a good painting, is not limited by either time or space; the same pictorial performance may be enjoyed a thousand years hence, and a thousand miles from the place where it was executed. The same may be said, it is true, of a musical composition; but as this species of production demands the aid of proper execution to give it existence and call forth its merit, the enjoyment it procures remains still very limited. Musical composition, however, is out of the question in this parallel, because it is not usually made a branch of education, and it is only in this light that we now speak of

music and drawing. Instrumental music leads to no sort of information; drawing is an auxiliary to many arts and sciences. Music stands isolated; the perfect command of an instrument may be attained without the aid of any branch of knowledge whatever; skill in painting, on the contrary, cannot be attained without a serious study of perspective, history, anatomy, natural history, or other sciences, according to the department of painting to which the learner devotes himself. Folly and ignorance may exist with high digital power on an instrument; but an eminent painter must be a man of sound sense, deep observation, and extensive reading. As, by a natural effect of sympathy and assimilation, men seek each other's society according to the similitude of their tastes and pursuits, an instrumentalist or a vocalist will often be in company with the votaries of pleasure, for the most part frivolous and dissipated people; while the draughtsman and the painter will be likely to associate with architects, engineers, naturalists, and other industrious wellinformed persons.

From these remarks there can be no hesitation as to which of these arts the preference is due. Yet we do not, for a moment, think that instrumental music should be altogether abandoned: it contributes too largely to the charm of society. Let it be cultivated, especially by those who have a taste for it, but as a secondary, not as a primary branch of education; as a means of enlivening the family circle, not as a means of exhibiting in large assemblies, and exciting in young persons an inordinate love of admiration. Let it not, above all, engross a time claimed by more useful and more intellectual acquirements.

CHAPTER II.

PRACTICAL COURSE OF THE NATIVE TONGUE.

CONVERSATIONS ON OBJECTS.

Preliminary Remarks.

We will now enter upon the course of elementary instruction which is proposed as a substitute for classical studies, and as a means highly calculated not only to cultivate the perceptive, observant, and reflective powers of children, but also to extend their practical acquaintance with the native tongue, by making it the vehicle of diversified knowledge, and the ground-work of mental discipline. But as the conversations and intellectual exercises of which this course consists should be proportioned to the progressive development of reason, which varies in different individuals, it must be observed that the age which has been assigned for commencing them is only approximative.

Although the order in which the various conversations on objects have been introduced may be modified according to circumstances, it must not be regarded as altogether a matter of indifference; for we have endeavoured to conform to that which nature follows in gradually inuring the mind to habits of investigation. She imperatively enjoins that the first efforts of the child should be directed to the improvement of those powers by which he may form clear and correct notions of things. He should therefore be made to pass progressively through the exercises in perception, observation, reflection, and reasoning.

Another rule which should be strictly adhered to is, that, whenever a topic, an exercise, or a branch of information, acknowledged to be useful, has been entered upon, it should be occasionally repeated, until the children have a clear insight into the subject brought before them, or until the object proposed from it has been attained. It should also be borne in mind that the following course, although intended as a preparation for the scholastic instruction of boys, is equally suitable to girls; for,

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