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Twentieth Century Science

MERE MENTION

TEXT-BOOKS OF BOTANY. By JOHN MERLE COULTER, A. M., Ph. D., Head of Department of Botany, University of Chicago.

Plant Studies. An Elementary Botany. $1.25.

Plant Relations. A First Book of Botany. $1.10..

Plant Structures. A Second Book of Botany. $1.20.

Plants. A Text-Book of Botany. The two foregoing?in one volume. $1.80.

Keys to

ANALYTICAL KEYS TO FLORA. Northern States, by PROFESSOR COULTER, 25 cents. Pacific Slope, by PROFESSOR JEPSON, University of California, 45 cents. tain Regions, by PROFESSOR NELSON, University of Wyoming, 45 cents.

Rocky Moun

A LABORATORY MANUAL OF BOTANY. By Oris W. CALDWELL, Ph. D., Eastern Illinois State Normal School. 50 cents.

TEXT-BOOKS OF ZOÖLOGY. BY DAVID STARR Jordan, Ph. D., LL. D., President of Leland Stanford Junior University; VERNON L. KELLOGG, M. S., and HAROLD HEATH, Ph. D, Professors in Leland Stanford Junior University.

Animal Studies. An Elementary Zoology. $1.25.

Animal Life.

A First Book of Zoology. $1.20.

Animal Forms. The Elements of Zoology. $1.10.

Animals. A Text-Book of Zoology. The two foregoing in one volume. $1.80.

Animal Structures. A Laboratory Manual of Zoology. By D. S. JORDAN and GEORGE C. PRICE,
Leland Stanford Junior University. 50 cents.

THE ELEMENTS of PHYSICS. By C. Hanford HENDERSON, Ph. D., and JOHN F.
WOODHULL, A. M., Professor in Teachers' College, $1.10. With experiments, $1.25.
Experiments separately, 45 cents.

A TEXT-BOOK OF ASTRONOMY. BY GEORGE C. COMSTOCK, Ph. B., LL. B., Director of Washburn Observatory, Madison, Wis. $1.30.

AN INTRODUCTION TO PHYSICAL GEOGRAPHY. BY GROVE K. GILBERT, LL. D., U. S Geological Survey, and ALBERT P. BRIGHAM, Professor of Geology, Colgate University. $1.25.

A TEXT-BOOK of Geology. By ALBERT P. Brigham, A. M. $1.40. ELEMENTARY CHEMISTRY. By ROBERT HART Bradbury, A. M., Ph. D., Central Manual Training School, Philadelphia. $1.00. With experiments, $1.25. Experiments separately, 45 cents.

FIRST BOOK IN HYGIENE. Studies in Health and How to Preserve It. By WILLIAM O. KROHN, Ph. D. 35 cents.

GRADED LESSONS IN HYGIENE. BY WILLIAM O. KROHN, Ph. D. 60 cents.

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All students will have the advantage of summer resort privileges, including attendance upon one of the finest courses of lectures, entertainments and concerts ever given. Among the attractions will be the following: Creatore and his Italian Band, Mrs. Helen Rhodes, Katherine Oliver McCoy, De Witt Miller, S. H. Clark, Robarts Harper, Leland Powers, Mrs. Nellie Peck Saunders, Dr. Frank M. Bristol, Laurant the Magician, Captain Richmond Pearson Hobson, Prof. Leon H. Vincent, Rev. George R. Stuart, Edison's Projectoscope, Rogers' Band and Orchestra, etc., etc.

For Catalogue and Season Announcement

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S. C. DICKEY, Winona Lake, Indiana

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It is recognized that drawing, school art, should occupy a place in the course of study. With manual training going on in the school, we should have typical lines of genuine life work carried on, in which the demand for school art, or drawing, is continually pressing itself forward. The drawing and designing must be done by either the teacher or the pupil, or the work of making the model can not proceed. It is little short of criminal for the teacher to rob her pupils of these experiences in school art; to rob them of studying typical models and working out the drawings, designs and decorations for them. The teacher does this in two ways: 1st, by having them copy what she has studied and worked out, and placed on the blackboard; 2d, by dictating step by step what the pupils should in part be led to discover in making the drawing, and through making the model.

The best and most natural exercises of the drawing or art faculty is found in designing and beautifying the products of human industry. It is a mere accident of habit that we should study line harmonies in the form of pencil marks on paper. These are abstractions from reality. Better to find them, in part, in manual training models in the lines of support, stress and joining; in the patterns of weaving; in sewing, cardboard construction, and in the yielding contours of pottery. Here they are realities, and here the child feels their identity with his immediate needs.

It is extremely difficult to conceive a clear line or division between manual training and art education. The two are not merely entangled but identical. We can not draw the line as the word manual seems to imply, at hand work—all forms of hand work demand the highest muscular skill. Neither can a difference in use justify the cleavage, as if industry (typified by manual training in the school) produced utensils or models, to be consumed, but art (typified by drawing) luxuries to be treasured.

Where drawing or school art is being taught, or it is proposed to teach it, it

should be recognized that all things made from material are genuine living products of art in design and structure; and may be and should be in decoration. This seems to indicate that the models to be constructed in manual training should in part furnish excellent models. for study in design and decoration in the drawing work. Or put it this way: part of the course in school art should be mechanical drawing, design drawing, decorative drawing made from the study of models, that the same pupils can make in manual training work. This drawing because the pupil needs it in his school work and he knows it, should take precedence to other drawing work; but it has run so far into theoretical, abstract and imaginative, and into color work, that drawing departments have no time. to do the practical, useful, artistic drawing absolutely needed in the work of the manual training department.

Here is an opportunity for natural, sensible correlation, concentration that should never be violated. Manual train

ing work can not be carried on without drawing. If drawing is done on manual training time, it takes half of the manual. training time. Since in the course of study the pupil is pursuing a full course in drawing, occupying as much time as is allotted to manual training, it is giving three times as much time to drawing as to manual training. For the greatest good to the pupil and the community it had better be three times as much manual training as drawing or art. Let us create in materials, not merely on drawing paper.

The work in drawing and manual training in the first two grades should be taught as one subject, and the work should be done by the regular teacher, thus insuring the concentration of the two, also the most effective teaching of them. The manual training work, or call it art work if you please, in folding in inexpensive cover paper of different colors and weights; the work in weaving in paper and rags; the work with tools in cutting, fitting and glueing in colored papers, should be made the opportunity

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