recognized by teachers of drawing and painting. Boys and girls should be encouraged to express themselves artistically, and should not be kept everlastingly at the mechanical work of copying and drawing from objects. At puberty another change takes place. The youth is self-critical, he has keener perceptions, and new ideals of action and expression, and is less easily satisfied with his productions. His power of accurate expression in drawing also is lessened in the early years of adolescence by the predominant growth of the fundamental muscles and the comparatively weak control of the accessory muscles. Consequently, with rare exceptions, young people of this age, i.e., from twelve years on, lose all interest in drawing themselves, although their appreciation of the work of others is much greater than before. Of a class of some thirty boys in their early teens, whom I desired to illustrate a simple story, all except two either failed altogether, or made but the crudest efforts. Of these two, one had had no training, and the other only a little, chiefly in manual dexterity. Both have special artistic talent. I had similar results in two larger classes of boys and girls in their early teens. Nearly all failed utterly to illustrate, in any kind of interesting or effective way, either this simple story or any of the Greek myths which I read to them, and in which they showed great interest. From his own work and the work of others in the study of the drawings of the young, Dr. Lukens has been able to construct a curve, which shows the complementary development of receptive interest or appreciation and productive power or creation in art. In boyhood productive power is in the ascendancy, in adolescence appreciation. There is also a marked rise at fifteen in the powers of both the visual and the auditory memory. In later adolescence motor and creative power again rises. It is in later adolescence, then, that the motor element, so important in education, should be emphasized both in art and science. In early adolescence, on the contrary, artistic training should be addressed primarily to the perceptive faculties and to the imagination, and should develop the powers of appreciation of beauty, grace, and sublimity in form and color and sound and action. The mind will thus be stored and the ambition stimulated for the future bodying forth of the youth's own noble conceptions either in art, or, if he prove no artist, in the other activities of life. There is in the high schools of Ontario, so far as I know, no provision for this sort of training, the training in artistic appreciation. Even in literature, instead of striving to bring the youthful mind into inspiring
