drama, and travel, and children look for them, and will not care for things of which they have had no vision.
········
It was very late in its history that the race wanted eye-instruments. For ages the human eye did its work unassisted save by rude glasses that could hardly be looked upon as eye instruments. Its rich associations with touch were developed by work, and also by modelling and drawing;[1] but more remarkable than all this was the development of the vast psychic field that is the peculiar feature of human vision—the weaving of what was seen into dreams, visions, Utopias. No doubt it was well that projection was not hurried; and for the same reasons it would be well that it should not be hastened in childhood. When at last it came it was simple enough—and begun, one would say, by chance.
- ↑ It is saddening to see how the rich training of the eye afforded in free drawing is evaded. Even when good ideals are introduced, yet the methods tend continually to be debased. For example, no sooner was free-arm drawing and free design introduced than a great weight of new and expensive "apparatus," sheets of copies, with skeleton lines and coloured flower forms, were flung on the market. These are all substitutes—substitutes for the power to draw, for the courage to trust children and let them trust themselves; substitutes for helpful mistakes even—for the going wrong that helps the beginner to do better; substitutes, in fact, for true hand and eye training!
