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 NATURE DRAWING 
 
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 EDITED BY 
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 Library Bureau Cat. No. 1137 
 
 Cornell University Library 
 NC 805.B25 
 
 Nature drawing from various points of vi 
 
 3 1924 014 453 157 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924014453157 
 
NATURE DRAWING 
 
 FROM VARIOUS 
 POINTS OF VIEW 
 
NATURE DRAWING 
 
 FROM VARIOUS 
 POINTS OF VIEW 
 
 EDITED BY 
 HENRY TURNER BAILEY 
 
 EDITOR OF "THE SCHOOL ARTS BOOK," "THE FLUSH 
 OF THE DAWN," "THE CITY OF REFUGE" 
 
 ATKINSON, MENTZER&GROVER 
 
 NEW YORK 
 
 CHICAGO 
 
 ATLANTA 
 
^0^,3500 
 
 Copyright, 1910 
 By The Davis Press 
 
CONTENTS 
 
 I NATURE DRAWING ii 
 
 By Henry T. Bailey, State Supervisor of Drawing for Massachusetts, 
 18S7-1903. 
 
 n ACCEPTABLE PLANT DRAWING 15 
 
 By Henry T. Bailey, Editor of The School Arts Book. 
 
 III DRAWING THE FALL FLOWERS 22 
 
 By Henry T. Bailey. 
 
 IV FALL NATURE DRAWING 27 
 
 By Annette J. Warner, Director, Department of Art, State Normal 
 School, Fitchburg, Mass. 
 
 V OBSERVATIONAL DRAWING 36 
 
 By Walter Sargent, Professor of Education in Relation to Art 
 and Manual Training, Chicago University. 
 
 VI HAND WORK IN LEAF STUDY 40 
 
 By Frances W. Carret, Teacher, Public Schools, Cambridge, 
 
 VII PERSPECTIVE OF LEAF AND FLOWER 46 
 
 By James Hall, Director, Department of Fine Art, Ethical Culture 
 School, New York City. 
 
 VIII SPRING NATURE DRAWING 51 
 
 By Frederick Whitney, Director, Department of Art, State Normal 
 School, Salem, Mass. 
 
 IX DRAWING THE SPRING FLOWERS 66 
 
 By Mary A. Pearson, Director, Department of Art, State Normal 
 School, North Adams, Mass. 
 
 X ALDERS, POPLARS, AND WILLOWS 72 
 
 By Clarence Moores Weed, Director, Department of Nature Study, 
 State Normal School, Lowell, Mass. 
 
8 CONTENTS 
 
 XI NATURE DRAWING AND COMPOSITION 78 
 
 By Fred H. Daniels, Director of Drawing, Public Schools, Newton, 
 Mass. 
 
 XII DECORATIVE ARRANGEMENT 89 
 
 By Nathaniel L. Berry, Director of Drawing, Public Schools, 
 Newton, Mass., 1890-1907. 
 
 XIII DECORATIVE ARRANGEMENT 98 
 
 By Henry T. Bailey. 
 
 XIV NATURE DRAWING IN HIGH SCHOOLS 108 
 
 By Mabel E. Stock, Teacher of Drawing, High School, Spring- 
 field, Mass., 1898-1906. 
 
 XV ANALYTICAL STUDY OF PLANTS 122 
 
 Translated from the French. By Irene Sargent, Professor of 
 the History of Art, Syracuse University, Syracuse, N. Y. 
 
 XVI PLANT DRAWING BY CHILDREN 129 
 
 By Henry T. Bailey. 
 
 XVII INTERPRETIVE PLANT DRAWING ... 141 
 
 By Henry T. Bailey. 
 
PREFACE 
 
 With one exception the papers here brought together were 
 written originally for The School Arts Book, and published in 
 that magazine during its first eight years. 
 
 The names of the authors will be found in the table of con- 
 tents. Each author presents his own point of view, but all are 
 in substantial agreement as to the importance of Nature Drawing, 
 and as to the method to be pursued in securing good results. 
 
 These collected papers constitute a handbook for teachers, 
 and a guide to the lover of the wayside things, who would know 
 them better, and find in their beauty the elements of beautiful 
 
 ^^^°'^^^^^- THE EDITOR. 
 
A child's water color drawing in flat tones, 
 from the red clover. 
 
CHAPTER I 
 NATURE DRAWING* 
 
 THE power to draw directly from the object is of such great 
 importance that any course of instruction which fails to 
 develop it can hardly be called successful. 
 
 The power develops through constant practice under guidance. 
 The objects which seem best adapted to the needs of beginners in 
 the art of delineation are the common plants : first, because they 
 are ever3rwhere available ; second, because they present the prob- 
 lems of graphic representation in their simplest form ; third, because 
 children like them and therefore draw from them with enthusiasm. 
 
 The simplest plant may be studied from several points of 
 view. The observer may think of its lines of growth, its pose 
 or gesture, of the character and distribution of its parts as seen 
 in silhouette, of the contours and foreshortenings of its parts 
 as interpreted in line, of the colors of the parts, and their relative 
 values when rendered in black and white, of the anatomical 
 structure of the plant, of the texture of its parts — roughness 
 of stem, gloss of leaf, glow of petal, of the grace and harmony 
 of the whole growing in its habitat beneath the play of sunlight 
 and shadow. It is therefore folly to place even the simplest 
 plant before a child with the command, "Draw what you see." 
 The child must be led to see as well as to draw, to see a few facts 
 at a time and to represent these facts in the simplest way. 
 
 The course he should follow will be determined partly by 
 the needs of the draftsman and partly by the conditions imposed 
 by his developing powers. 
 
 Such a course may be outlined briefly and illustrated as 
 follows :t 
 
 * An address by Henry T. Bailey at the Third International Art Congress, London, 1908. 
 t Numerous blackboard sketches were made in line and in color to elucidate each of 
 these topici. 
 
12 NATURE DRAWING 
 
 1. A study of the character and movement of growth as 
 expressed in line, and of the color of the parts as expressed in 
 typical hues. 
 
 Even the youngest pupil may be led to see whether the main 
 lines of a plant are straight or curved, and whether they are 
 vertical, horizontal or oblique in position. Even the youngest 
 may be led to see that leaves are green, and that flowers are 
 white, yellow, red or blue. The most accomplished draftsman 
 never reaches a point where he can safely disregard lines of 
 action and dominant hues. 
 
 2. A study of the sizes and shapes of parts as expressed 
 in mass and their characteristic hues. 
 
 Having observed and recorded the general direction of a 
 leaf-stalk or flower-stem the pupil is prepared to notice the 
 length and width of the leaf and the relative size of the flower. 
 Having seen a leaf as green he is ready to discriminate between 
 a blue-green and a yellow-green leaf, and to record his observa- 
 tion by the use of a more closely matched color. An accom- 
 plished draftsman never ceases to study proportions and never 
 ceases to discriminate between one precise hue of color and 
 another. 
 
 3. A study of the interrelations of the masses of the parts, 
 both among themselves and with reference to the mass of the 
 whole, as expressed in silhouette. 
 
 This requires a closer observation of the object, and a 
 greater facility in translating the three dimensions of the object 
 into the two dimensions of the surface upon which the draw- 
 ing is made. It demands thoughtful comparison of the sizes 
 and shapes not only of the parts themselves but of the spaces 
 between them, an exercise the most proficient draftsmen never 
 outgrow. Moreover this practice in seeing and recording things 
 in silhouette is fundamental as a preparation for decorative 
 design. 
 
 4. A study of the modifications in the apparent shapes 
 of the parts, according to the angle at which they happen to be 
 seen, as expressed in line. 
 
NATURE DRAWIHG 13 
 
 To see and to record successfully the effects of foreshortening 
 demands a keener eye and a more skilful hand than any exercise 
 previously outlined. General proficiency in rendering the appar- 
 ent shapes of objects, or in perspective drawing, as it is often 
 called, was never attained by Egyptian or Greek painters, or by 
 any painters whatever down to the central period of the Italian 
 Renaissance. Correct perspective drawing is not yet universal 
 even among professional artists. The plant presents in simple 
 and attractive form the fundamental problems of appearance 
 drawing, which, under more complicated and involved forms, 
 have perplexed and will continue to perplex even the masters of 
 delineation. 
 
 5. A study of the superficial anatomy of plants, the apparent 
 structure of each part and its articulation with other parts. 
 
 This requires yet closer observation and finer muscular 
 control, for the details involved are smaller and less distinct. 
 In plant drawing the test of the draftsman's power is the joint, 
 just as it is in drawing the human figure. The draftsman must 
 not only see but interpret what he sees. Every scrap of infor- 
 mation he possesses concerning the internal structure of the object 
 will inform his hand as he draws and gives significance to every 
 line and dot. His drawing will illustrate a statement by John 
 La Farge, to the effect that it is the artist's intention that gives 
 significance to his line and makes his work precious. 
 
 6. A study of the plant for its elements of beauty. 
 The parts of the plant embodying these elements have teen 
 
 studied by the pupil in every previous division of the course, 
 but now they should be considered again synthetically from 
 the point of view of the artist searching for beauty of form and 
 color. 
 
 Subtleties of proportion, graces of line, harmonies of color, 
 gradations of light and shade, delicate contrasts of texture, 
 glints, accents, irridescences heretofore unobserved or unrecorded 
 should now become the quest of the pupil — the fascinating, 
 the delightful, and yet unattainable quest, which has enthralled 
 the artists of all time. 
 
14 NATURE DRAWIHG 
 
 The following of such a course year after year will give both 
 skill and insight. Tennyson spoke the truth when he wrote : 
 
 "Flower in the crannied wall, 
 I pluclj you out of the crannies, 
 I hold you here, root and all, in my hand, 
 Little flower — bat if I could understand 
 What you are, root and all, and all in all, 
 I should know what God and man is." 
 
 And if we could draw the little flower, root and all, and all 
 in all, we would have command of the elements of all art. 
 
CHAPTER II 
 ACCEPTABLE PLANT DRAWING 
 
 WHATEVER the subject, — spelling, language, geography, 
 arithmetic, nature, — school papers should be beautiful. 
 Each sheet is an opportunity for training in craftsmanship. 
 "What is worth doing at all is worth doing well." A sheet of 
 plant drawing is no exception. 
 
 Good results do not come through luck. The teacher who 
 secures good results in any grade is usually a person of intelli- 
 gence and forethought. If the plant to be drawn is grass-like 
 with linear stems and leaves and bristly appendages the pupils 
 are led to see that a pencil point, colored or black, will enable 
 them to render such a plant simply and without unnecessary 
 effort. If the plant has broad leaves and flowers a brush will 
 be the better medium. If the significant details of structure are 
 to be rendered the medium would better be a sharp pencil or pen 
 used on comparatively smooth paper. The thoughtful teacher 
 always asks first, in the presence of a new problem. What is 
 the important thing to be aimed at in this case? What medium 
 will express this thing most effectively? 
 
 But a pretty good drawing may be disadvantaged by its 
 setting, like a child in a slum. It may have the wrong com- 
 panions, be dressed in the wrong clothes, be ill-matmered and 
 awkward. From the first the aim of the teacher should be to 
 lead the pupils to be thoughtful about the size and shape of the 
 sheet, the placing of the drawing upon the sheet or within margin 
 lines, the character of those margin lines, and the character and 
 placing of the signature or other identifying mark upon the 
 face of the sheet. The following illustrations and notes may 
 prove helpful in teaching some of these points: 
 
 I. Bad. Line of growth out of harmony with the lines of 
 the sheet or inclosing form. 
 
i6 
 
 ACCEPTABLE PLANT DRAWING 
 
 2. Bad. Not so bad as the first, but too tall for the sheet 
 
 and too rigidly in the middle. No 
 hint of freedom or ease of position. 
 
 3. Bad. Better placed than 
 2, but too low in the space, and 
 too much space around it. Lack 
 
 ,/ I of harmony between the shape of 
 
 J I the spray and the shape of the 
 
 -L — 1 I 1 1 inclosing form; spray a vertical 
 
 oblong, inclosing form square. 
 
 4. Good. Space adapted to 
 the spray. General shape and size 
 in harmony with it. Spray well 
 placed. 
 
 5. Bad. Spoiled by the plac- 
 ing of the initials, penned in a 
 corner. 
 
 6. Bad. Spoiled by the ini- 
 tials. Too large ; hung on a sign 
 
 4t> ft* W' from stem to margin line. 
 
 y ' ^ y 7. Bad. Spoiled by the ini- 
 
 tials. Too elaborate; placed at 
 an odd angle without reason and 
 out of harmony with the principal 
 lines of the sheet. 
 
 8. Bad. Spoiled by the ini- 
 tials. Initials do not have to sit 
 on anything. 
 
 9. Not too bad, for the lines 
 of the name-spot are in harmony 
 with the lines of the sheet ; but its 
 long axis is out of harmony with 
 the other long axes, those of the 
 sheet and the drawing. 
 
 10. Good. Even better than 4. Better balanced, because 
 of the placing of the initials. Long axes all in harmony. 
 
ACCEPTABLE PLANT DRAWING 
 
 17 
 
 11. Bad. Violates the principle of Unity. Intersecting 
 stems without excuse, and both 
 unrelated to the lines of the 
 sheet. Crossed lines always form 
 an ugly attraction and tend to 
 draw the eye away from the more 
 important parts. 
 
 12. Bad. One spray, but 
 sprawled over the sheet, making 
 strong, oblique lines out of har- 
 mony to each other and to the 
 lines of the sheet. Such a spray 
 may be turned and drawn as in 
 14, the two heads forming prac- 
 tically one mass for the eye to 
 grasp easily. 
 
 13. Bad. Two masses again, 
 but somewhat unrelated, therefore 
 lacking unity. Spacing suggests 
 equal thirds, as objectionable as 
 halves, and for the same reason. 
 See 2. 
 
 14. Good. Name spot well 
 related to all the rest. Lines of 
 stems and leaves lead the eye 
 towards it. Falls in with the 
 other parts to form a pleasing 
 mass well balanced on the 
 sheet. 
 
 15. Bad. Stiff lines of sprays 
 out of harmony with curved line 
 of the circle. Lack of unity 
 because of the unrelated lines 
 of the sprays. Had they con- 
 verged downward to suggest a common source somewhere 
 below the frame the effect would have been better. 
 
i8 
 
 ACCEPTABLE PLANT DRAWING 
 
 1 6. Bad. Odd shaped 
 
 A withering branch; cut off; 
 21. Good. 
 
 inclosing forms, shapes without 
 apparent reason for their un- 
 usual character are always to be 
 avoided. 
 
 17. Bad. All attenapts to 
 suggest corners turned over, holes 
 or slits in the sheet, or any device 
 for holding the drawing upon the 
 paper ( ! ) are out of place and 
 contrary to a fundamental law of 
 design. "Art is the purgation of 
 superfluities," said Michelangelo. 
 
 18. Good. Curved lines of 
 the spray in harmony with the 
 circular inclosing form. Hori- 
 zontal and vertical lines in the 
 initials give a clue to the correct 
 position of the whole, — tell when 
 the drawing is right side up,- and 
 harmonize with the vertical and 
 horizontal axes of the drawing. 
 
 19. Not too bad, but the 
 sudden chopping off of the stem 
 suggests not life (a charm in 
 plants) but death. When the 
 stem is continued to the inclos- 
 ing form it suggests to the mind a 
 source of life beyond. The fram- 
 ing lines form a window through 
 which a part of a living plant is 
 seen. 
 
 20. Bad. Shadows as at- 
 tractive as the real thing (usually 
 more so when poorly drawn). 
 
 hopeless ! 
 
ACCEPTABLE PLANT DRAWING 
 
 19 
 
 22. Bad. Inclosing lines too light; out of harmony with 
 the character of the drawing. 
 
 23. Bad. Inclosing lines too 
 heavy; out of harmony with the 
 character of the drawing. 
 
 24. Bad. Inclosing lines too 
 attractive. "Fancy" margin lines 
 always attract the eye and draw it 
 away from the legitimate center of 
 interest. 
 
 25. To be avoided. Suggests 
 lack of harmony between the frame 
 and the spray. The spray has 
 overpowered the frame and broken 
 it. Spray not seen through a 
 window but a window through a 
 spray ! 
 
 26. Bad. Oblique axis of spray 
 out of harmony with the lines of 
 the inclosing form. Most attrac- 
 tive part, center of interest, in one 
 corner close to a margin line. 
 
 27. Bad, as it stands, but it 
 might be redeemed by flowers of 
 attractive color. Center of attrac- 
 tions now too low. The center 
 of attractions must always be on 
 the vertical axis of the sheet and 
 slightly above the actual center of 
 the sheet.* 
 
 28. Good. 
 
 * Each picture has three centers : 1. The 
 geometric center, found by diagonals, important 
 because it locates the vertical and horizontal 
 axes. 2, The center of interest, the supreme tMng in the picture, that to which the eye 
 returns again and again for satisfaction. 3, The center of attractions, the point about 
 which all the lights and darks, lines and spots of the picture are balanced. 
 
ACCEPTABLE PLANT DRAWING 
 
 29. Bad. Attractions (dark spots) all of about equal attrac- 
 tive power. Interest scattered. Lines of stems tend to lead 
 
 the eye away from the center and 
 dissipate the attention. 
 
 30. Better. Secured by pruning 
 the spray and turning it so that the 
 parts fall into a more compact whole. 
 One flower most prominent. All spots 
 of black smaller than this; and in a 
 diminishing series, easily discovered 
 by the eye. 
 
 31. Fair. Without the name spot 
 the sheet is unbalanced and the long 
 axis of the mass of the drawing is out 
 of harmony with the inclosing form 
 (cover the name spot with a bit of 
 paper and 
 
 ^^ notice the 
 
 result) . The name spot, by extending 
 the line of the first berry spray and 
 adding to the attraction on the left, 
 restores the balance of the sheet and 
 obscures the fact of an oblique axis. 
 
 32. Good. When no inclosing 
 line is used (the lines in this illustra- 
 tion represent the edges of the sheet) 
 a suggestion that the spray is a part 
 of a larger, living whole may be 
 given by vignetting the stem, that is, 
 by diminishing gradually its distinct- 
 ness and the amount of its detail 
 until it disappears or "dies away" 
 into the paper. 
 
 In plant drawing the eye may 
 be drawn to any part the artist may choose by his manner of 
 rendering. By increasing the amount of detail represented in 
 
ACCEPTABLE PLANT DRAWING 21 
 
 a selected part, by emphasizing its contrasts of light and dark, 
 by strengthening its color or (which amounts to the same thing) 
 by omitting detail in other parts and diminishing contrasts or 
 colors in those parts, the selected part may be made so attractive 
 to the eye that it becomes the center of interest. 
 
 Unity, that all-important element of beauty, may always 
 be secured, even in the most refractory spray, by this emphasis 
 of the most important part, through the proper subordination 
 of all the other parts, in a consistent sequence of hue, value, 
 intensity, and definition of detail. 
 
CHAPTER III 
 DRAWING THE FALL FLOWERS 
 
 WHICH? Those which are at hand and common. Not the 
 rare ones. The destruction of our native wild flowers 
 must not be laid to public school children. Let "fall flowers" 
 include grasses and sedges with their flower-like fruit cases, the 
 shrubs with their colored berries, anything available which chil- 
 dren can draw. 
 
 Given the specimen, the teacher must ask herself, "How is 
 this to be studied?" A plant may be studied and represented in 
 six ways : 
 
 1. For its Movement, that the children may think of its 
 characteristic lines of growth — straight, curved, erratic. 
 
 2 . For its Form, that the children may think of the relative 
 measures of its masses of leaf, flower, fruit, and their relations to 
 each other. 
 
 3. For its Values, that the children may think of its parts 
 as being relatively lighter and darker. 
 
 4. For its Color, that the children may think of hues and 
 values and harmonies. 
 
 5. For its Details, that the children may think of structure — 
 articulations of part to part, delicate beauties of curvature, adap- 
 tation of form to function, changes in texture, etc. 
 
 6. For its Ensemble, that the children may think of the 
 spirit of the thing 
 
 "All in the pleasant open air, 
 
 The pleasant light of day ; 
 And blown by all the winds that pass 
 
 And wet with all the showers." 
 
 With a definite aim in mind, an aim proper to the grade, the 
 next question is, "Considering the character of the specimen and 
 the limitations of the class, what medium of expression should be 
 
DRAWING THE FALL FLOWERS 
 
 23 
 
 used?" If the subject is grass and the grade low and the aim is 
 movement of growth, the colored crayon and manila drawing 
 paper will be chosen because a single stroke 
 may be made to express a stem or a leaf, 
 and the color pleases children. If the sub- 
 ject is golden-rod and the grade is high and 
 the aim ensemble — the effect of the thing 
 as a whole — water color and cream white 
 paper of good quality may well be chosen 
 as the medium. To express form only we 
 will use a flat wash of ink or other mono- 
 chrome ; to express details a sharp pointed 
 pencil or pen. In any case we will have 
 a definite aim and a reasonably chosen 
 medium. When we have determined these 
 we will lead our children to come to the 
 same conclusions, and then have the mate- 
 rials distributed. 
 
 Now for the lesson : When you sit for 
 a photograph you and the photographer 
 conspire to produce the most creditable 
 result possible. You dress for it and he 
 poses you for it. So it must be in drawing 
 from the fall flowers. Choose your speci- 
 men, try different positions for it, select 
 the best, prune away unnecessary and 
 confusing details, leaving only essentials 
 to characteristic truth and beauty. For 
 example, the awkward spray shown at i 
 may be pruned to a single forked stem with 
 its flower and leaf; the others are practi- 
 cally repetitions of the same t3rpical forms. 
 If the spray is monotonous, i, turn it as 
 indicated in the next sketch below. If it sprawls like 2, turn 
 it as shown in the second sketch below at the left. A specimen 
 may sometimes be brought under the law illustrated at 3 by 
 
 Vdricly in met-iurts, 
 w'ith unity brought 
 abo^t hy intwr-re)a,\tani 
 
 bul: llltk uniti 
 
24 
 
 DRAWING THE FALL FLOWERS 
 
 judicious pruning, and by turning the specimen a unity of mass 
 may sometimes be discovered, analogous to that illustrated at 6. 
 
 The principles of beauty which control 
 all arrangements are, in ordinary language, 
 variety and unity, — variety in the measures 
 or lengths of the parts, in space divisions and 
 in masses; unity in the effect of the whole 
 through interrelations of 
 parts. We will compose 
 our specimen so that its 
 lines and masses fall 
 ^u> U into some sort of system, 
 
 '^^\W Throujkl^, ^^ ordered relationship 
 which has some bond of 
 
 by one 
 
 union ; as, for example, a 
 
 jrrdnqffmcnC 
 
 Or#veix 
 
 general upward-and-out- 
 ward tendency manifest- 
 ed in each and every line ; 
 a characteristic curve 
 repeated and echoed 
 throughout the whole ; a 
 rhythmic arrangement 
 of masses where one is 
 dominant and the others 
 subordinated in an or- 
 derly series ; or a group- 
 ing of parts according to 
 the law of symmetry or balance. The little 
 sketches will help to make clear these differ- 
 ent unities. Study them. 
 
 Having decided upon that position and 
 arrangement of the specimen which shall 
 suggest at once a natural pose and a beauti- 
 ful example of plant growth, next determine the size and shape 
 of the sheet, by placing the spray upon it or by estimating the 
 requisite amount of space demanded for the drawing. A pencil 
 
DRAWING THE FALL FLOWERS 
 
 25 
 
 held flatwise upon the sheet to 
 indicate the position of any 
 proposed cut may be of service 
 as an aid in estimating the 
 proper size. 
 
 In the lower grades we 
 will draw the plant as it grows 
 in nature from the growing 
 point upward and outward in 
 order, — stem, leaves, buds, 
 flowers, — making each stroke 
 mean as much as possible. 
 
 In the upper grades we 
 will suggest that order of 
 growth with one or two deli- 
 cate pencil lines, or we will 
 merely think it, and then draw 
 as seems most convenient. We 
 will not mumble and run our 
 words together, but we will 
 enunciate distinctly and talk 
 deliberately, suggesting by each 
 touch, and by the touches we 
 omit, all the truth we can ex- 
 press about joints and bracts 
 and other details of growth. 
 If we are using color we will 
 -touch in the more delicate hues 
 first, while the water in our jar 
 is clean, and later we will paint 
 the darker colors. Others may 
 prefer to paint in the dominant 
 color first. We will just use 
 our common sense in deciding how to proceed with each speci- 
 men. Try it the way which seems easiest and most promising. 
 We will try to discover what quality the various colors have in 
 
 ■ ^be CLirue of porce.l.thetiirje f m 
 , ^:;ofGrdce.il,and tbecuweoF \ 
 //"V^TN Mystery, in. are tbecurues \ 
 // (cA) c^wViich are elements of \ 
 ' 'f^ — beauty in common objects. \ 
 
 contours, and the oeneral dires-tion of \ 
 even angulAr dad appArentl^ WAyward J 
 orowths, (5e« dotted line dbove). 
 
 <:r' *" .-■-,'■ --- '5/^ 
 // 7 , ^ ps^-'^ 
 
26 DRAWING THE FALL FLOWERS 
 
 common, rather than in what they differ or disagree. Instead 
 of thinking of the golden-rod, for example, as yellow and green, 
 we will look for a tint of green in the yellow flowers and a tint 
 of yellow in the green leaves, and of both colors in the stalks 
 and pediceles. 
 
 If we are drawing in pencil we will indicate, by means of 
 very light strokes, the general directions of the principal stems, 
 then by light touches, the relative lengths of parts from joint to 
 joint. Then we will suggest very lightly, by touching the paper 
 only here and there, the general shapes and positions of the 
 different parts. Next we will indicate the thickness of each 
 important stem. Now we are ready to sketch each part more 
 carefully, with very light lines, and when this has been done, to go 
 over it all again thoughtfully, drawing with all the skill we can 
 summon, emphasizing a leaf-edge here, a bit of shadow there, 
 bringing out this texture by a delicate continuous line, and that 
 by a heavy broken one, until the result is the best we can do. 
 
 Finally, we will place our name or initials upon the sheet 
 where they will add to the beauty of the sheet by perfecting the 
 balance of it. If we have miscalculated and the sheet is out of 
 balance after all, we will trim it to restore its balance, and leave 
 it the best finished product of which we are capable at this stage 
 of our ignorance. 
 
CHAPTER IV 
 FALL NATURE DRAWING 
 
 THAT the primary requisite in every good lesson is interest, 
 is one of the first principles of pedagogy. Many teachers 
 of many minds, many classes of many kinds, make it impossible 
 to formulate a hard and fast recipe for obtaining this interest. 
 Each case must be diagnosed separately. 
 
 Many suggestions may be offered for teaching a nature 
 lesson, but only a few rules can be laid down. The most impor- 
 tant, and the one most often neglected, may be given in the 
 form of the moral to the old fable: "First catch your hare." 
 Frequently teachers have failed to secure good results by neglect- 
 ing to observe this rule, and more than once a poor lesson has 
 been retrieved by the compelling power of a beautiful subject. 
 With the end of the lesson in view, then, the subject must be 
 carefully selected. In primary grades this task should never, 
 and in grammar grades seldom, be left to the children, unless 
 under the guidance of the teacher. 
 
 Suppose the September outline for primary grades reads 
 as most drawing outlines do, "Draw grasses and sedges." 
 The first question of the teacher should be, "For what pur- 
 pose?" If for growth and variety in movement, a good selec- 
 tion would be carefully chosen examples of the species so 
 familiar to everyone who has lived in a garden, known as garden 
 grass. 
 
 Let the children gather around the desk and help the teacher 
 to make it grow again on paper. Ask them to find where the 
 little green shoot commenced its journey and which way it 
 started out to find the sunshine; see if they can discover where 
 it "stopped to think"; and let them watch carefully just how 
 you repeat the leaf "thought"; then let them show which way 
 the little grass went next on its quest, and Johnny draw the 
 
28 
 
 FALL NATURE DRAWING 
 
 next leaf, while teacher herself shows how when it had topped 
 its neighbors it laughed out loud in the blossoms, which give 
 such an explosive movement in this particular grass. 
 
 For the next lesson select a grass with an entirely different 
 habit — perhaps the timothy with its soft, fuzzy heads and graceful 
 stem, — and if a bright, breezy teacher recites some of the verse 
 which Emerson wrote to Ellen, who was, perhaps, then a little 
 
 %•" 
 
 liAr 
 
 V. 
 
 Drawings of grasses by primary children. 
 
 girl like Ethel here, the children will better catch the spirit, — 
 and give the "tune." 
 
 "The green grass is blowing, 
 
 The morning wind is in it ; 
 'Tis a tune worth the knowing, 
 
 Though it changes every minute." 
 
 Again the children might be given a hektographed copy 
 of the line, 
 
 "Grass with green flag half-mast high," 
 
 and then taken to a near-by field to find the very best illustra- 
 tions — afterwards drawing and pasting the printed slip on the 
 page, if they are too young to write. Or find some of the grasses 
 with brown twisted leaves to illustrate, Good-night. 
 
FALL NATURE DRAWING 29 
 
 "Good night, little shivering grasses, 
 Lie down 'neath the coverlet white 
 And rest till the cuckoo is singing. 
 Good night, little grasses, good night." 
 
 When studying the grasses there is a good opportunity to 
 give the children a little manual training which will correlate 
 at once with drawing by showing them how to manipulate their 
 brushes in order to give the quick, direct stroke which alone 
 will tell how the long, slender 'stem of the grass grows, — how 
 to "bear down" and "lift up" on the brush to make the grass 
 leaves twist and turn. In the third or fourth grade the children 
 may try to express the character of growth in more difficult 
 plants. Here again, choice is the first essential for success, and 
 if this falls upon the golden-rod, select from the many varieties 
 one which combines the few typical characteristics. To empha- 
 size these by contrast, gather a few other yellow flowers. 
 
 Just how would one teach this to a class? That is very 
 hard to describe, but one might begin like this — and it would 
 be a good fortune which a grade teacher might easily bring to 
 pass, if a nature or literature lesson that very morning had 
 taught a poem or legend about the golden-rod. Do you know 
 this flower, children? Yes, I see that you have a speaking 
 acquaintance with it. But people whom we know well we can 
 recognize at a distance and in more than one way.- Would 
 you know the golden-rod if you saw it across the field? By the 
 color? yes. But suppose this wild sunflower of the same hue 
 grew beside it? Yes, the shape of the flowers and the curving 
 stem would tell — just as you would know your mother if you 
 saw her at a distance, not only by the color of her hair and her 
 clothes but by her shape and her walk. 
 
 Does the golden-rod stem bend equally all the way? Show 
 me on the blackboard just how it curves. No, you cannot if 
 you draw so slowly. It reminds me of the lines the rockets 
 drew on the sky last Fourth of July, and you remember how 
 fast and how forcefully they drew them. Can't you hear them 
 "swish" through the air now? To get the skyrocket curves 
 
30 
 
 FALL NATURE DRAWING 
 
 you must draw the lines "fast and sure." Let us try some on 
 the wrong side of the paper. When you get a good one we will 
 turn the paper over and try the golden-rod stem. Are you 
 ready? Now I advise you to take "almost water" in your 
 brushes and show at first only where the stem is "going to be." 
 See if you can guess why. Right; so that we can place some 
 of the flower masses and leaves in front of the stem. 
 
 Now how little need you tell about the flowers in order that 
 your picture may be recognized as a "truly" golden-rod? The 
 
 Sketches illustrating foreshortening of leaves, 
 
 shapes of the yellow and where it grows. Very well. And 
 can you see what keeps it in place? Then let us show the stem 
 and little dark leaves under the yellow. (This involves a little 
 "technique" which should be abundantly illustrated by the 
 teacher.) Notice next how the leaves grow, each one having 
 some peculiar grace all its own. What is the golden-rod fashion 
 for fastening leaves to the stem? Do any leaves point up toward 
 the blossoms? Let us emphasize these. Do any point straight 
 out to the margin? Let us look for them. And last of all, 
 let us draw the stem as dark as it looks between the blossoms 
 and from leaf to leaf, noticing any change in size. 
 
FALL NATURE DRAWING 
 
 31 
 
 But there comes a time in the grades when general char- 
 acteristics and approximate shape, and mere suggestions of the 
 color do not satisfy even the children — when they want to know 
 just how to make a leaf look as if it were "coming toward you" 
 or "going back from the stem" or "curled over so as to show 
 two sides." For the first study of the foreshortening of leaves 
 
 Drawings emphasizing the study of joints. 
 
 select some common entire leaf — ^like the plantain, the nastur- 
 tium, or the lilalc — or, in an upper grammar grade, the clover. 
 Old devices to teachers, but new at some period in his career 
 to each child are these : To place a large leaf against a window 
 pane far enough away so that no detail is visible and to let 
 the children draw in silhouette the various shapes made by the 
 varied positions; to cut in a card a window about the size of 
 the leaf and to notice through it the small space occupied by 
 the leaf in the foreshortened views ; to sit down at a desk with 
 
32 FALL NATURE DRAWING 
 
 the children around you and draw the leaves in any "hard" posi- 
 tion they suggest for you, trying to explain to them just how 
 you determine the relation of one part to another. The accom- 
 panying illustrations show fair results from such study in sixth, 
 seventh and eighth grade classes. 
 
 The next problem is the combination of stem and leaf with 
 a study of the joint. Such an example as the first on page 31, 
 drawn two or three times in different positions, is better than 
 one offering more complications. When the children have 
 mastered the difficulties involved in simple subjects like this, 
 they are ready for a spray with flowers or fruit. In selecting 
 this measure your class and choose something that the children 
 may be reasonably expected to do well. A simple spray* well 
 drawn is much more attractive than a complicated one poorly 
 and hastily attempted, and the satisfaction secured by success 
 gives the children courage and confidence with which to attack 
 the next problem. And do remember occasionally to get some- 
 thing that the children have not drawn every year since they 
 first came to school. This need not necessarily be a greenhouse 
 exotic or rare plant whose species might easily be exterminated, 
 but it might be for once a garden flower, — if you have a friend 
 who has a garden, — or something gathered afar on a week-end 
 holiday, or something contributed by one of the children, with 
 whose resources the teacher should keep in touch. 
 
 "Drawing is simply a seeing of relations." 
 
 "One thing at a time and that done well 
 Is as good a rule as any can tell." 
 
 By keeping in mind these two aphorisms it is easy to teach 
 any grammar grade child of average intelligence to draw well 
 enough. 
 
 After selecting the best view of the plant and having done 
 any necessary pruning and chosen the best arrangement on the 
 paper, the pupil is ready to draw. To teach the child to study 
 
 '^ Having the spray, provide for it a background of the same size and color as the paper 
 on which it is to be drawn. 
 
FALL NATURE DRAWING 33 
 
 intelligently is the work of the teacher. Any child can judge 
 with reasonable accuracy the position of the lower end of the 
 stem if he relates it to the right and left and lower margins of 
 the background and can indicate by a point a similar position 
 on his paper. The highest point and those marking the extreme 
 right and left should also be indicated. If there are masses 
 of blossoms or berries or particularly prominent flowers or 
 fruit these should be located by their relation in position to the 
 points already placed and to the background befare the study 
 of the detail begins. 
 
 The lowest point in the stem having already been indicated, 
 the pupil can determine next and accurately enough, if he gives 
 his attention to this and nothing else, whether the stem starts 
 vertically or slants to the right or left and how much, to the 
 first leaf or branch, and can indicate this by a quick, light sketch 
 line. He can at the same time guess pretty shrewdly at the 
 length of this joint. Next consider simply the size of the stem 
 to this point. A little study of the joint comes next and the 
 manner of union of leaf or branch with the main stem peculiar 
 to this species. 
 
 If a leaf comes here, indicate first the direction of the leaf- 
 stem, noticing the angle it makes with the main stem, to what 
 point in the margin of the paper it points. Continue the line 
 of the stem through the midvein, finding first the point of the 
 leaf by its relation to the main stem and the margins of the 
 paper. Indicate now the size of the leaf stem. Study next the 
 outline of the leaf through its relation to the midvein. Show 
 the children carefully how to follow the leaf edge as it starts 
 away from the midvein, then runs parallel to it, then approaches 
 it, crosses it, curves away, returns again to the side from which 
 it started, and ends in a most fascinating, foreshortened, vivacious, 
 little tip. The outline of the opposite side of the leaf may be 
 studied in the same way, in its relation to the midvein and to 
 the half already drawn. 
 
 The first leaf having been indicated, the direction of the 
 stem to the next joint may be considered, its size, the next leaf^ 
 
34 
 
 FALL NATURE DRAWING 
 
 ^ 'Q- 
 
 A sketch showing thoughtful drawing of joints. 
 
FALL NATURE DRAWING 35 
 
 » 
 and so on, until the whole spray, leaves, flowers, or fruit, is 
 
 drawn in light pencil lines. The illustrations on pages 31 and 
 34 show the result of such study. When the children in upper 
 grammar grades can sketch easily a spray in this manner, it 
 is time to consider "finishing." But that is another story. 
 
 "But how mechanical this sounds," you may say; "would it 
 not be better to read the children a poem and to show them 
 examples of artists' rendering of nature subjects, and let them 
 catch the spirit of the thing?" By all means read to them from 
 the poets and show them all the good work possible, but do 
 not forget that Corot, the most sensitive interpreter of nature's 
 subtlest moods, when asked to sum up in a word the basis of the 
 success of sixty years of happy work; said, "Draw, draw, always 
 draw, and mind your values." Just such work as I have sug- 
 gested must be done with our pupils in order that they may learn 
 to do intelligent, independent work. The sooner they acquire 
 "freedom under the law," the sooner they will be ready to catch 
 the spirit which is above all law. 
 
CHAPTER V 
 OBSERVATIONAL DRAWING 
 
 AUTUMN completes the cycle of plant life. The seed planted 
 in the spring has passed through its phases of growth to 
 seed again. The leaves whose development the children watched 
 during spring and summer as they unfolded from the buds and 
 grew to full vigor, are about to give way to new buds which, 
 throughout the winter will 
 show promise of another 
 spring. 
 
 The seeds are ready to 
 distribute themselves, and 
 well provided with means 
 for so doing. Pupils will 
 find interesting work for 
 brush and pencil, in illus- 
 trating the winged seeds. 
 They have many suggestions to offer upon 
 the problem of aerial navigation. Their 
 wings are of various structure and have 
 different methods of attachment to the 
 seeds they are to carry, and different bal- 
 ance between seed and wing. They fly with varying 
 lines of motion through the air. 
 
 The arrangements for the flight of plumed seeds 
 furnish equally interesting material for sketching. 
 Thistledown can float in the air or skim over miles of 
 water, touching here and there without wetting its 
 plumes. Dandelion seeds fly vertically, balloon fashion. 
 
 Some seeds have springs to throw them. Some 
 are furnished with hooks and barbs which enable 
 them to "steal a ride." Fig. i. Figure i. 
 
OBSERVATIONAL DRAWING 
 
 37 
 
 The myriad seed forms are shaping themselves after cun- 
 ningly devised designs. They show strength and ingenuity of 
 construction, great beauty and a wonderful foresight of condi- 
 tions to be met. One is reminded of legends of the work of 
 dwarfs who toiled at instruments of curious pattern, so exquis- 
 itely adapted to the purposes 
 in view that when they were 
 put to use, even by clumsy 
 hands, the results appeared 
 magical. 
 
 Almost any seed is a 
 good topic for a series of 
 sketches. Milkweed pods are 
 common and big enough to 
 be seen. They are graceful 
 in shape. The short stems 
 have eccentric angles. When 
 one discovers the protection 
 offered to the seeds by the 
 spongy structure of the pod 
 in which they are packed, as 
 we pack bottles in corrugated 
 paper, some suggestion of its 
 texture will probably appear 
 in his drawing. 
 
 Later the pod bursts and 
 the "fish" appears with dark, 
 well arranged scales and 
 gleaming silver. Then the seeds begin to spread their plumes 
 and children who have not watched their development are likely 
 to draw them thus, Fig. 2, when in reality they are like Figure 3. 
 
 They reach out, seed first, and hold by a few threads till a 
 breeze comes that can pull them away. Such a breeze is strong 
 enough to send them on a long journey. A white podful crowd- 
 ing out awaiting a breeze is a beautiful sight. A single seed 
 with its plume makes a pretty drawing. The shapes of the 
 
 Figure 2 
 
38 
 
 OBSERVATIONAL DRAWING 
 
 pods are often like birds with wings spread for flight. Their 
 color in late fall and winter is worth painting. 
 
 Maple seeds furnish material for a delightful series of sketches. 
 Their color varies at different stages of development. The 
 structure of the wing 
 is beautiful. 
 
 The embryo plant 
 is closely coiled in its 
 shell. The seed forms 
 are finely balanced, 
 and the wings, even 
 the tattered one of the 
 weather-worn veteran 
 of many winds, slow 
 in finding a resting 
 place, preserve to the 
 last the power to whirl 
 the seed. 
 
 The structure of 
 buds and their firm 
 anchorage to the stem 
 
 offer opportunity for illustrations. They vary 
 from such buds as the oak and ash, Fig. 4, com- 
 pact and offering little resistance to snow and 
 wind, to the long, slender beech bud. Fig. 5, and 
 the hobble bush. Fig. 6, most presumptuous of all, 
 which disregards scale and puts forth half formed 
 leaves in the fall, which like the "sooners" in newly 
 opened public lands are on hand before their time. 
 
 Such observational drawing as is suggested 
 above is especially needed in upper grades and high 
 schools, as an accompaniment of nature study and botany. 
 
 A photograph of a plant form with all its clearness of detail 
 is a delightful thing, but as a recorder of observations the camera 
 does not equal the pencil and brush. Not because anything 
 is lacking. It is rather because nothing is lacking. The camera 
 
 Figure 3. 
 
OBSERVATIONAL DRAWING 
 
 39 
 
 Figure 4. 
 
 has little power of elimination or of emphasis. 
 It records everything within focus with equal 
 clearness. The student, pursuing some line of 
 observation, notes this fact and that, now with 
 sharp, accurate detail?, now with suggestive lines. 
 His sketchbook 
 shows not all 
 of nature but 
 the things he 
 wishes to des- 
 cribe. It is a 
 record of his 
 way of think- 
 ing and seeing. 
 Nature draw- 
 ing by school 
 pupils will gain 
 an element of 
 great value 
 
 Figure S. 
 
 Figure 6. 
 
 when it includes records of individual 
 observation out of doors as well as in. 
 Not drawings of everything seen but 
 notes made along some particular line 
 of study. 
 
CHAPTER VI 
 HAND WORK IN LEAF STUDY 
 
 ONE bright day in October when the maple trees were a 
 brilliant mass of red and orange and the nut trees were 
 all turning brown, I suggested to the children that we make a 
 collection of all the different kinds of leaves we could find. I 
 gave them a few to start with and their response was quick and 
 their effort sustained. Every day they brought new leaves 
 which they learned to recognize and name. We had a large 
 botany press holding fifty or sixty sheets of botanical driers. 
 Each child was assigned a place for his leaves in the press and 
 had four or five driers for his use. Here they put their leaves 
 each day as they brought them. 
 
 After the children had learned to recognize and name some 
 fifteen or twenty varieties, we began to study the leaves more 
 in detail. Each one had a laurel leaf and made a very large 
 drawing of it eight or ten inches long. Then they learned and 
 labelled the parts, — blade, petiole or leaf stem, apex, base, margin 
 and midrib. Using these names for the different parts of the 
 leaf, the children began to compare the leaves they had found, 
 picking out those that were alike in general shape. 
 
 ist, those that were linear, as Crocus, Narcissus, Grasses. 
 
 2nd, those that were lanceolate, as Laurel, Willow, Chestnut, 
 Lily-of-the- Valley. 
 
 3rd, those that were heart-shaped, as Violet, Linden, Catalpa. 
 
 4th, those that were rotund, as Geranium, Begonia. 
 
 They classified them as to outline. 
 
 ist, those with entire margins, as Lily-of-the-Valley, Tulip 
 tree. Laurel. 
 
 2nd, those with serrate margins, as Elm, Chestnut, Beech. 
 
 3rd, those with scalloped margins, as Japanese Ivy, Large- 
 toothed Aspen, Chestnut Oak, Violet. 
 
HAND WORK IN LEAF STUDY 41 
 
 4th, those with cut margins, as Black Oak, Hawthorn. 
 
 5th, those that were lobed, as the Tulip tree, Sugar Maple, 
 Grape vine. 
 
 6th, those that were cleft, as Swamp White Oak, Scarlet Oak. 
 
 7th, those that were parted, as Cut-leaf Maple, Rose Geranium. 
 
 To bring out clearly the different kinds of margins, I gave 
 the children black paper and let them trace around the leaves 
 which they brought. Then they cut them out. Both pieces 
 of paper were saved and mounted, the silhouette leaf which 
 they had cut out and the piece of paper from which it was cut, 
 thus making twin pictures, the black leaf, and the white one 
 with the black background. After they had made a few of 
 these silhouettes, it was surprising to see how quick they were 
 to detect slight differences even in leaves from the same tree. 
 The difference in the margins and whether the leaf was lobed, cleft 
 or parted came out so clearly that the children can never forget. 
 
 To bring out the general shape and veining of the leaves, 
 the children made blue prints of every one they brought. The 
 blue prints were especially valuable in that they emphasized the 
 veining. The children grouped 
 
 ist, those that had parallel veins, as Plantain, Lily-of-the- 
 Valley, Crocus, Narcissus. 
 
 2nd, those that were feather veined, as Chestnut, Beech, Elm. 
 
 3rd, those that were palmately veined, as Sugar Maple, 
 Japanese Ivy, Geranium. 
 
 After the children had made a careful silhouette and blue 
 print of each leaf they had brought, they made a freehand draw- 
 ing of each one, taking another leaf of the same kind to draw 
 from and not using the identical leaf of which they had made 
 their silhouettes and blue prints. The results were very satis- 
 factory and I attribute it largely to the accurate work necessary 
 in the silhouette making and to the close attention to shape, 
 necessary in careful cutting. Their power to recognize many 
 different leaves grew apace. Soon they had doubled their col- 
 lections. There were many leaves, of course, which were too 
 difficult to _cut, but their eyes had been opened by cutting the 
 
42 
 
 HAND WORK IN LEAF STUDY 
 
 Cuttings and blue prints of common leaves. 
 
HAND WORK IN LEAF STUDY 
 
 43 
 
 DE 
 
 
 Cuttings and blue prints of common leaves. 
 
44 
 
 HAND WORK IN LEAF STDUY 
 
 more simple forms and they were ready to see similarities and 
 differences in each new specimen. 
 
 The silhouettes were not as pretty as the blue prints, which 
 showed the veining and in many cases the texture of the leaves, 
 but the difference in shape and in the margins came out more 
 clearly in the black and white. 
 
 The blue prints were made sometimes from fresh leaves 
 and sometimes from those that had been in the press. The 
 
 I40C4I 
 
 Illustrations showing several ways of effectively 
 mounting the prints and cuttings. 
 
 silhouettes were easier to make if the leaves had been in the 
 press for an hour or so. The work of blue printing was done 
 before school and when the children went out at recess. The 
 silhouettes were made before school, also, and sometimes on 
 rainy days at recess. The leaves were kept in the press for 
 four or five days until they were thoroughly dry. Then they 
 were mounted before school with narrow strips of gummed paper, 
 each child working independently and putting his work away 
 when finished in his own Botany box. 
 
 The knowledge they had gained they used in their English 
 lessons. They wrote descriptions of the three kinds of veining 
 
HAND WORK IN LEAF STUDY 45 
 
 they had learned, — parallel, feather and palmate veining. Each 
 description was illustrated by a blue print of a leaf typical of 
 that kind of veining. When these descriptions were finished, 
 each child bound into book form what he had written with the 
 accompanying illustrations and made a leaf design for the cover 
 of his book. 
 
 This work has been done by city children — boys and girls — 
 whose average age is seven years. The lessons were not an 
 isolated experiment. They were the outgrowth of lessons which 
 have been given to children of the same age for some years. 
 The children made their collections and learned to recognize 
 and name the leaves. They learned the parts of a leaf — to class- 
 ify leaves by their general shape, as determined by veining, and 
 by their outline. To emphasize the general shape and outline, 
 they made silhouettes. To make the veining clearer, they made 
 blue prints. The freehand drawing of the leaves studied came 
 as a last expression of the child's conception of their shape and 
 character. In no case did the child draw the individual leaf 
 of which he had made the silhouette and blue print, but another 
 leaf of the same kind was given him to draw from, so that in his 
 drawing he might bring out the characteristics of the species 
 and not of the individual leaf with which he had previously been 
 working. 
 
 For the development of concentration and control, for defi- 
 niteness and accuracy of seeing, I am sure the children have 
 had no more valuable lessons than these in leaf study. 
 
CHAPTER VII 
 PERSPECTIVE OF LEAF AND FLOWER 
 
 THE making of a drawing is simply the recording of an idea. 
 Ideas of form or of appearance in children's minds are 
 usually very vague. Foreshortened appearances are not thought 
 of generally until special attention has been called to them. 
 In drawing leaves and flowers everyone knows that children 
 will usually represent them as seen from above. That is the 
 way they think of them. They know their real shape, though 
 in nature they are seen foreshortened far more often than 
 otherwise. 
 
 Lessons in foreshortening leaves and flowers should begin 
 as early as the fourth grade. Each child should have an individ- 
 ual specimen — say a lilac or some other simple leaf. First 
 direct the pupils to hold the leaves between their eyes and a win- 
 dow so that the side edges are toward them. Then direct them 
 to draw what they see. Few will do it the first time. They 
 haven't the courage. Some will tell you that they are afraid 
 if they draw the leaf as it looks it won't look right. 
 
 Now ask the pupils to hold their drawings out in front of 
 them in a vertical position, and beside the drawings to hold the 
 leaves in the position in which they drew them. Stand at the 
 back of the room and see that every pupil is following directions. 
 Ask the pupils to nearly close their eyes so that they can just 
 see their leaves as dark spots against the papers.. Comparing 
 the drawing and leaf they will begin to understand what shape 
 they should draw. Perhaps some of the children will have 
 made good attempts at foreshortening the first time. If so, 
 commend these, and show them to the class. 
 
 The class should then make a second effort. 
 
 After pretty good results have been obtained when the leaf 
 is seen edgewise, the pupils should try it with the stem pointing 
 
PERSPECTIVE OF LEAF AND FLOWER 
 
 47 
 
 toward them, and then afterwards the apex may be turned toward 
 them. 
 
 Repeated trials are necessary with each new position, but 
 time spent in learning to see and to put down courageously what 
 appears in these typical positions, is time well spent, and will 
 
48 
 
 PERSPECTIVE OF LEAF AND FLOWER 
 
PERSPECTIVE OF LEAF AND FLOWER 
 
 49 
 
 influence all future nature drawing. Brush 
 and ink are the first mediums to use in draw- 
 ing these silhouettes, then the pencil and pen. 
 In higher grades where perspective prin- 
 ciples are taught it will be useful to refer the 
 foreshortening of leaves and flowers to the 
 geometric figures. Lessons like the following 
 will lead to clearer thinking, though in 
 drawing from nature the aim should always 
 
 Figure 1. 
 
 be to record fearlessly 
 and with feeling for 
 the individual charac- 
 teristics of the particu- 
 lar specimen in hand. 
 
 Have the pupils 
 cut a circle, say three 
 inches in diameter. 
 On this circle sketch 
 a daisy from memory. 
 Of course it will be 
 more or less conven- 
 tional. 
 
 Now turn the 
 circle so that the top 
 appears an ellipse. 
 Carefully sketch the 
 ellipse and within the 
 ellipse sketch the 
 flower form. See 
 Figure i. 
 
 Next have a 
 square drawn. With- 
 in this sketch a square 
 
 Figure 2. 
 
so 
 
 PERSPECTIVE OF LEAF AND FLOWER 
 
 flower, the bluet for example. 
 
 Next study it in typical fore- 
 shortened positions, first 
 drawing the square in correct 
 perspective. See Figure 2. 
 
 A triangle may follow 
 with a triangular leaf or flower 
 drawn within and these studied 
 in perspective. See Figure 3. 
 
 I have said that such 
 exercises will lead to a clearer 
 understanding of perspective 
 principles as applied to leaf 
 and flower. In drawing from 
 nature the aim should be to 
 see how the leaves and flowers 
 look. Some pupils are ever 
 ready to subject them to 
 Procrustean tortures. They 
 may be made as uncomforta- 
 ble — perhaps more so — if 
 forced into foreshortened beds 
 as when made to lie unnat- 
 urally flat. The devices sug- 
 gested are but helps by the 
 way. 
 
 Figure 3. 
 
CHAPTER VIII 
 
 SPRING NATURE DRAWING 
 
 PART I 
 
 WE ARE all pleased because good old Sol is showing him- 
 self for a longer time each day. Soon mother earth 
 will respond to the warm rays, the buds will swell, and the stems 
 and roots feel new life. All nature will take on that exquisite 
 spring coloring and give forth that odor which we all anticipate. 
 We begin to feel the truth of the words of James Russell Lowell 
 in the first prelude to The Vision of Sir Launfal : 
 
 "Then Heaven tries the earth if it be in tune, 
 And over it softly her warm ear lays ; 
 Whether we look or whether we listen, 
 We hear life murmur, or see it glisten ; 
 Every clod feels a stir of might. 
 An instinct within it that reaches and towers 
 And, groping blindly above it for light. 
 Climbs to a soul in grass and flowers. 
 The flush of life may well be seen 
 Thrilling back over hills and valleys." 
 
 But while we anticipate all these changes and before they 
 appear, let us begin our nature study, open the eyes of the chil- 
 dren and be sure that we ourselves are in tune to this beauty 
 and able to respond to it when it reveals itself. 
 
 Suppose we begin with the study of a tree or two. It is 
 still too cold for a walk or field lesson, so we will take those we 
 can best see from the schoolroom windows. 
 
 After a few words with the children, have a sketch made 
 upon the board. What is the general form of the tree? What 
 are the characteristic lines of growth? Have the pupils try again 
 with pencil or ink. Let the children go to the window and try 
 a sketch, or suppose you make a sketch that the children may 
 
52 
 
 SPRING NATURE DRAWING 
 
 Studies of the Lombardy Poplar. 
 First, the main lines of growth. 
 Second, the tree with accessories, 
 composed within a vertical ob- 
 long, and rendered in three tones 
 of gray. 
 
 Studies of the Apple tree. 
 First, the main lines of growth. 
 Second, the tree with accessories, 
 composed within a rectangle, and 
 rendered in three tones of gray. 
 
SPRING NATURE DRAWING 
 
 53 
 
 see how you work. Let them criticise your drawing. Be one 
 of them in all your work. You will have some fine sketches 
 next time, and in a few weeks we will try again when instead 
 of bare branches and twigs .we shall see 
 
 "An emerald roof with sculptured leaves." 
 
 In continuing the nature drawing, study the twigs from this or 
 a similar tree. How bare and gray they are — yet are they gray? 
 Suppose we consult the color scales we painted in the winter 
 and see how full of color ever3rthing in nature is. We will 
 sketch them now, and again later, noting the changes. One 
 has but to begin his nature drawing and there is no lack of ma- 
 terial or enthusiasm. 
 
54 
 
 SPRING NATURE DRAWING 
 
 Let us be a little more careful this year about the quantity 
 of material brought into the schoolroom and the use we make 
 of it. Let it not be the result of the nature or the drawing lesson 
 that there is such destruction of rare or common plants. A 
 
 few good specimens well chosen and well cared for answer the 
 purpose better than such quantities selected at random and 
 thrown away after every lesson. 
 
 Why not put into practice the good lessons we have had 
 along these lines of art training this winter? We have been 
 advised to "stand for reforms." Suppose we apply these to our 
 nature drawing this year. The children may make drawings 
 
SPRING NATURE DRAWING 
 
 55 
 
 faithful to nature but is that all there is to be gained? Is this 
 production a thing of beauty as a whole? Some one says: 
 "Nature is beautiful and that is a good drawing." Yes, but our 
 composition may be ugly for all that and so nature be made to 
 appear what it is not. Let us select the best specimen possible 
 to tell us the story of the life of the plant or tree. You have 
 
 heard this again and again. How about the size and position 
 of the paper for the specimen we are to draw? What shall we 
 select for the inclosing form? Just where shall we draw it to 
 give the best space divisions? 
 
 These and other suggestions must be considered if our 
 results are to be good. , 
 
 Then comes the decision as to medium and values. You 
 cannot design nature, to be sure, but your sheet may be a good 
 design when finished. 
 
 Apply your lessons in composition and landscape drawing 
 to the sketches of the trees, your lessons in space division and 
 
S6 
 
 SPRING NATURE DRAWING 
 
 balance to all you do in nature drawing, never forgetting sim- 
 plicity in composition and in treatment. 
 
 Now comes the study of the seeds and their growth. Soon 
 the farmers will begin plowing and sowing the seed. There 
 
 will be many things for us to observe then, but we can make 
 better preparation for these in the schoolroom where we can 
 make the observations more in detail. For example, take two 
 sheets of blotting paper of good size, put the seeds between and 
 dampen them, then place inside sheets of cotton batting to keep 
 the seeds warm and moist. The early stages in growth may 
 be observed in this way. A wooden box with one side removed 
 and a pane of glass substituted gives a fine opportunity to study 
 
SPRING NATURE DRAWING 
 
 57 
 
 the growth, especially of the roots, and to make our drawings 
 without disturbing the seed. 
 
 Plant the seed close to the glass in sphagnum or moss ob- 
 tained of a florist. If these cannot be had, use sawdust or a 
 
 good sized box of earth, planting the seeds at intervals of five 
 or six days. 
 
 A few illustrations will show some arrangements of the 
 sheet which will tell the life history of the seed and at the same 
 time suggest a lesson in composition. 
 
 Apply the color work as we paint, studying the scales, 
 shades, tints and hues which one finds in the least of nature's 
 creations. 
 
58 
 
 SPRING NATURE DRAWING 
 
 I- 
 U 
 
 d 
 
 K 
 
SPRING NATURE DRAWING 
 
 59 
 
 f^'H^ 
 
6o 
 
 SPRING NATURE DRAWING 
 
 These few suggestions for the beginning of the nature work 
 may answer as stepping stones to the more interesting work 
 later in the season, as well as open the children's eyes and hearts 
 to love all seasons and all they bring. 
 
 "Spring is strong and virtuous, 
 Broad-sowing, cheerful, plenteous, 
 Quickening underneath the mould 
 Grains beyond the price of gold." 
 
 — Emerson 
 
 PART II 
 
 "There is a path that I would lead you by, 
 If you will trust yourself to me for guide, 
 A path that leads along the woodland side." 
 
 Now is the time for us to keep our eyes and ears open to 
 the sights and sounds of nature. What a world of wonder is 
 all about us, and the wise man is on the alert that he may not 
 
 lose this glory. 
 
 Thoreau in his chapter 
 on spring wrote: 
 
 "When the ground was 
 partially bare of snow, and a 
 few warm days had dried its 
 surface somewhat, it was 
 pleasant to compare the first 
 tender signs of the infant 
 year just peeping forth, with 
 the stately beauty of the with- 
 ered vegetation which had 
 withstood the winter, — life 
 everlasting, golden-rods, pin- 
 weeds and graceful wild 
 grasses, more obvious and 
 interesting frequently than in 
 summer even, as if their 
 beauty was not ripe till then." 
 
SPRING NATURE DRAWING 
 
 6i 
 
 If you will take a walk 
 along any country road, or 
 perhaps look about your own 
 dooryard, these very illustra- 
 tions of new life and old age 
 may be seen side by side, each 
 enhancing the beauty of the 
 other. Let us compare the 
 new and the old in a few of 
 these specimens. Study the 
 tansy for example. There are 
 the fresh green leaves with 
 their red stems, just the colors 
 we were studying a while ago 
 as illustrations of comple- 
 mentary harmony. There, 
 too, is the stately stalk of last 
 season showing the ambitious 
 
 child to what stature it must attain. A little farther on is a bit 
 of dock with its long, slender leaves pushing up through the sod, 
 and here and there a stem of last year's growth, just enough 
 to accent the fresh, delicate coloring of the new leaves. Many 
 illustrations of this kind will be found when once we have 
 started on our search, and there is no end to the delight in such 
 a ramble. 
 
 We will have specimens brought into the schoolroom. 
 These will necessarily vary with the location, but many a new 
 friend as well as the old ones will appear. There will be first 
 of all the skunk cabbage, the new growth appearing bright and 
 green in contrast to the brown and gray surroundings. There 
 will be the golden-rod, grasses, sedges, hepatica, chicory, evening 
 primrose and many others all displaying color which will be a reve- 
 lation to many a child and to many a teacher as well. There will 
 be found the red, brown, gray and violet stems of the blackberry 
 or raspberry vines harmonizing with the green or yellow of the 
 new growth; the gray soft spirals of the ferns, with here and 
 
62 
 
 SPRING NATURE DRAWING 
 
 there a yellow fern of last 
 season still showing its 
 delicate fronds. 
 
 Can we not make this 
 work one means of helping 
 the children to live as well 
 as of fitting them for life? 
 
 Nature has always been 
 our best teacher and must 
 not be shut out of the 
 schoolroom. 
 
 After studying these 
 for a while we will make 
 use of them in our draw- 
 ings, making a few sheets 
 to illustrate what we have 
 discovered. 
 
 First of all make a 
 careftil selection from what the children have brought, remem- 
 bering both the scientific and esthetic value of the work. Among 
 other things to be considered is the personality of the plant, each 
 plant as well as each person showing characteristic traits. 
 Observe the lines of growth, measures, balance or symmetry, 
 variety, radiation or any other feature which will help in under- 
 standing this particular plant and 
 the placing and drawing of the 
 specimen. A few lines (see page 
 65) will answer as illustrations. 
 
 Let the children in the lower 
 grades take the simplest plants in 
 which this new life is manifest, 
 for example, "Grass with green 
 flag half-mast high." They may 
 use the colored, pencils or perhaps 
 the brush and color for this ex- 
 pression. After drawing go to 
 
SPRING NATURE DRAWING 
 
 63 
 
 nature more thoughtfully and see what might have been done 
 to make this expression more truthful and beautiful, each 
 observation giving a keener sense of beauty, and greater love 
 for nature. In the middle and higher grades let the pupils decide 
 for themselves what paper and medium are best adapted to the 
 
 particular lesson. It is not necessary that each pupil should 
 have the same size and color of paper and the same medium, 
 and the pupil often appreciates this fact. 
 
 This work may be presented in a variety of problems. First. 
 After making the drawing in pencil outline, or with colored 
 pencils, water colors, or ink wash, cut down the paper to the 
 proper size and form for an inclosing space, mount this upon a 
 second sheet to obtain good margin. 
 
 || Second. After selecting the specimens draw a suitable oblong 
 to inclose the drawing, limiting the pupils to this space and neces- 
 sitating thought in placing to obtain a well balanced composition. 
 
64 
 
 SPRING NATURE DRAWING 
 
 Third. Make a pencil sketch within a given space, and in 
 the margin arrange in a scale the tones found in nature. Later 
 have the children sketch upon the board, from memory, charac- 
 teristic lines suggesting the growth of the plant studied. Con- 
 tinue the nature drawing using these plants, 
 noting the changes which occur, the manner 
 of development, change in color, form and 
 size. Presently the flowers will appear sug- 
 
 gesting new lines of study in our nature work 
 and drawing. 
 
 In connection with these lessons do not 
 forget the literature, for the poet as well as 
 the artist has often found his inspiration in these simple bits 
 which speak so joyfully of returning life and beauty. 
 
 Ruskin said, "He who walks humbly with nature, will 
 seldom be in danger of losing sight of art." 
 
 Agassiz bade us "Study nature, not books." 
 Let us heed the counsel of the artist, author and scientist 
 and make our nature work tell in each line. 
 
 Jean Ingelow wrote of "Ferny plumes but half uncurled." 
 Sidney Lanier said, "The little green leaves would not let 
 me alone in my sleep." 
 
 Wordsworth in writing of this season, said, 
 
 "The snow's dissolved, and genial Spring returned 
 To clothe the fields with verdure." 
 
SPRING NATURE DRAWING 
 
 6S 
 
 Bryant wrote of the buds that, 
 
 "Patient and waiting the soft breath of spring 
 Feared not the piercing spirit of the north." 
 
 See with Emerson how the spring is 
 
 "Teaching barren moors to smile, 
 Painting pictures- mile on mile." 
 
 Take the advice of Keats and 
 
 "Linger awhile upon some bending planks 
 That lean against a streamlet's rushy banks, 
 And watch intently Nature's gentle doings." 
 
 The drawings accompanying this article were made by pupils in the Salem, Mass , 
 Normal School. 
 
 / 
 
 x' 
 
 • 
 
 ( 
 
 Sketches illustrating characteristic 
 traits of plants. 
 
CHAPTER IX 
 DRAWING THE SPRING FLOWERS 
 
 WHEN spring comes on "with bud and bell" it is time to 
 refresh our souls by reading again our favorite nature 
 poems and journeying about out of doors with Wordsworth, 
 Emerson, Whittier, Bryant, and the many friends who have put 
 themselves on record as nature lovers and who help to quicken 
 our vision. They have said for us what we would like to say. 
 
 The coming of spring with the flowers that make up her 
 crown, has inspired a wealth of good things both in literature 
 and painting. How many of these do the children know? Let 
 us put up the pictures of blossoming fruit trees, Aurora, and 
 those of the master painters showing Flora and the flowers 
 springing up all over the ground, just as they like to make them 
 in their own humble efforts, and let us read again and again the 
 gems of literature, some of which they may commit to memory. 
 They will see the daffodils out-dancing the waves in Wordsworth's 
 "I wandered lonely as a cloud," and hear the owls hoot to his 
 boy of Winander. 
 
 We all have our favorite nature poems and of course we 
 teach best those we enjoy the most, but if we can help the child 
 to realize his right to fellowship with the artist, the sage and the 
 poet, because of his own love of nature, we have done him a 
 priceless service in the way of happiness. Something of this 
 may blaze the trail and make the approach to our schoolroom 
 study of plant life radiant. 
 
 The children are quick to discover the flowers whether they 
 come slowly one by one or trooping all together and are glad to 
 draw and paint anything from the first blade of grass to the fallen 
 leaves. It is our mission to help them to love everything that 
 is fair — "the shape of the opening rose, the changing ripples 
 on the waves, the grace of the human form," and to feel as well 
 
DRAWING THE SPRING FLOWERS 67 
 
 the power of beauty which even the humblest flower holds and 
 gives back "in looks so like a smile." 
 
 Surely, nothing gladdens the schoolroom like a pot of daffo-- 
 dils or a bunch of well-arranged flowers, and since the flower 
 is the type of all that's fair, nothing is more worthy of study. 
 
 It becomes our great concern to direct the drawing so that the 
 children may pursue it with delight and benefit. 
 
 First, then, what shall we choose to draw? How may it be 
 arranged? What medium shall be used? How may we teach 
 and how may we criticise the results? 
 
 We have caught the bulb fever, so the nature work in our 
 primary grades starts off with bulbous plants. The flowers are 
 brilliant in color, positive in form and carry well across the room. 
 The children have drawn with good success the crocus, the 
 trumpet narcissus, the double daffodil, the red, pink and yellow 
 tulip and the hyacinths. 
 
68 
 
 DRAWING THE SPRING FLOWERS 
 
 We choose a good specimen and arrange it so that its out- 
 line can be distinctly seen against a white background and in- 
 good light, then we have the children come closer for study and 
 to see us make the picture, first on the blackboard with colored 
 crayons to show them what to think about, how to represent the 
 form of the flower and blade as well as how they grow; then we 
 draw again on paper with colored crayons or water colors just 
 as they are to make their drawings. 
 
 Before the children start in, it is safe to have them tell what 
 they are going to do and the order of doing. If they are to use 
 
DRAWING THE SPRING FLOWERS 69 
 
 the brush, paint first the flower and not too near the top of the 
 paper, then its stem and blades just as we see them growing. 
 
 When the drawings have been made we criticise somewhat 
 as follows: Is the color right? Does the flower grow in the 
 right way? Has it the right number of petals and are they 
 placed as they grow? Is the drawing a good size and shape? 
 Is the stem the right size for the flower? Are the leaves the right 
 size? Are they tall enough and do they grow as they ought? 
 Is the drawing well placed on the paper? The best results may 
 be given an honored place on the wall for a day. 
 
 If the children are courageous and confident let them work 
 first and show them how when they find they need a little teaching ; 
 sometimes this is a most eflfective way to proceed. 
 
 The Jack-in-the-pulpit, lady's slipper, oriental poppy, yellow 
 garden lily, fleur-de-lis and the peonies may be drawn from one 
 well-chosen specimen. The daffodil, tulip, crocus, Jack-in-the- 
 pulpit, ppppy, lily and fleur-de-lis may be drawn either with colored 
 crayons or water colors, but the hyacinths, flowering almond, 
 lady's slipper and the peonies are better drawii with the brush. 
 
 When the wild flowers come in abundance the second and 
 third grade pupils can work from individual specimens; then 
 each child must make a true picture of his own flower and for 
 this he needs two pieces of paper, one on which to place the 
 flower to see well its form and color and one on which to make 
 the drawing. The 9" x 12" paper should be cut into halves, thirds 
 or fourths to suit the size of the specimen. Several sheets of paper 
 may easily be cut at a time against the sharp edge of a ruler. 
 
 The pussy-willow, the horsetail, the bluet, the cowslip, the 
 violet, the robin's plantain, the blue-eyed grass and the clover 
 are good subjects for this individual work. Children usually 
 draw all except the cowslip and clover better with colored 
 crayons than with the brush. 
 
 Whenever we plan to use the wild flowers they should be 
 carefully cut the day before and nicely arranged so that the 
 blossoms are not crowded and misshapen and all the stems reach 
 the water ; then they will be likely to keep fresh during the lesson. 
 
70 DRAWING THE SPRING FLOWERS 
 
 Remember, too, that no child will do his best work if given a 
 "scrub" specimen. 
 
 In the grammar grades we expect closer discrimination and 
 put the emphasis on skill in representing the foreshortened 
 appearance of flower, stem and leaf forms, the careful drawing 
 of details, the expression by accent, and the study of color har- 
 mony as found in plant life. 
 
 The buttercup and wild columbine are excellent subjects 
 for a series of progressive lessons because of the variety of forms 
 found in leaf and blossom. For the first, let each child have a 
 well-opened flower and make exact drawings of its forms, note 
 and draw the shape of different petals, draw the front, side and 
 various foreshortened views of the flower, then draw the bud 
 forms. The many leaf forms unforeshortened and in foreshort- 
 ened positions furnish ample material for several lessons. 
 
 When these details can be well represented the drawing of 
 the spray goes easily. It is often well to repeat the lesson two 
 or three times, placing the emphasis first on truth telling and 
 next on accent, directing the pupils to make delicate sketches 
 and when as correct as possible study to express texture, color 
 values or light and dark in corresponding pencil values, being 
 mindful of the importance due the flower. Study to have the 
 lines lead to and center the interest there for if the accent is 
 carried with equal emphasis from top to bottom a "spotty" effect 
 is produced which is unrestful and distracting. 
 
 A well-sharpened No. 2 pencil is the medium for most of 
 the work in grammar grades. A hard lead is uns3rmpathetic 
 and yields monotonous rather than expressive results. 
 
 The more carefully the drawing of plant form is made with 
 pencil before the application of the color the better. Children 
 should not be allowed time to color labored pencil drawings to 
 which the school eraser has been freely applied. 
 
 Good results in drawing as in every other subject depend 
 upon continuous hard work on the part of both teacher and pupil 
 and the more so because beauty is the standard of judgment and 
 results that look labored are not beautiful. Somehow then we 
 
DRAWING THE SPRING FLOWERS 
 
 71 
 
 must work hard enough to get skill and freedom which alone, 
 backed by fine feeling, will produce 
 beautiful results. 
 
 The teacher who prepares the 
 lesson by drawing in advance what 
 the children are to draw is likely to 
 inspire good work. We must take to 
 heart the truth that children learn 
 to draw by drawing and be careful to 
 take no more time for our teaching 
 than is necessary to start them with a 
 definite aim and to keep them going 
 on and on, one step at a time, towards 
 skilful achievement. 
 
 Most of the drawing of flowers in 
 grainmar grades is related either to 
 literature, science or design and di- 
 rected from those standpoints. Some- 
 times we should draw because of pure 
 delight in the flower itself. 
 
 Dr. Bascom has said that flowers 
 are among the most direct and per- 
 sonal gifts of the Creator to mankind. 
 Surely there is no better way by 
 which we may come to appreciate the 
 exquisite beauty of these gifts than 
 through the study necessary to rep- 
 resent them. Then, indeed, do we 
 realize the marvel of each creation. 
 
 It is certain, too, that the con- 
 templation necessary for the successful 
 drawing of flowers may greatly assist 
 to cultivate a high standard of judgment and taste as to form, 
 color, harmony and arrangement 
 
CHAPTER X 
 ALDERS, POPLARS, AND WILLOWS 
 
 THE flowering branches of alders, poplars and willows 
 are justly favorite objects for nature drawing in spring. 
 They are among the earliest plants to give evidence of the 
 return of the open season and they have grace of form and 
 charm of color that appeal to every lover of the beautiful. 
 They are moreover easy to obtain in abundance and to bring 
 into the schoolroom where every pupil may see them close at 
 hand. 
 
 It is a pity that so often pupils are permitted to draw these 
 branches without any real understanding of what the various 
 parts mean to the plant. There may be some value from the 
 point of view of the drawing supervisor in the graphic expression 
 of what the pupil sees in color and form, but it is only a partial 
 interpretation that can thus be given unless the pupil knows the 
 names and significance of the various parts. Such knowledge 
 need not interfere with the best art expression of which the 
 pupil is capable and it certainly will increase the educational 
 value of the exercise. 
 
 The alder is the earliest of these three plants to come into 
 blossom. The first mild weather of March or April causes the 
 catkins to lengthen. By almost any pond or stream you can 
 find twigs that show the condition represented in the accompany- 
 ing drawing. The vase-shaped leaf-buds are scattered along 
 the twig, each just in front of a distinct leaf-scar, while toward 
 the tip are the small, more or less erect pistillate catkins which 
 are destined to develop into the seed-bearing cones to be found 
 on older neighboring branches. At the extreme tip of the twig 
 are the larger and much longer pollen-bearing or staminate 
 catkins which after shedding the pollen will fall to the ground. 
 Sometimes branches will have only one sort of these catkins 
 
ALDERS, POPLARS, AND WILLOWS 
 
 73 
 
 
 A 
 
 
 Jj^Pl&TIUtATE 
 
 mi ^CATKINS 
 
 
 / 
 
 
 (fc-jj^-GTrtr-IIWATE 
 
 
 y^piLE/V- SUO 
 
 Jim 
 
 1 
 
 
 ' 
 
 
 1 
 
 1 
 
 
 
 
 ■; 
 
 ^l_de:r 
 
 
 ■ 
 
 
 
 2«o6 
 
 An alder twig in the early spring. 
 
74 
 
 ALDERS, POPLARS, AND WILLOWS 
 
 A study of the poplar catkin. 
 
ALDERS, POPLARS, AND WILLOWS 75 
 
 present, but a little searching will generally reveal twigs which 
 bear them both. 
 
 In the alder the pollen from the staminate catkins falls 
 upon or is blown by the winds upon the seed-bearing catkins, 
 fertilizing the ovules and thus causing the formation of the 
 seeds. When such a condition exists — ^the pistils and stamens 
 being in separate flower heads upon the same plant — the species 
 is said to be monoecious. 
 
 In the case of the poplar, a somewhat different condition 
 will be found. Upon one tree pollen-bearing catkins only are 
 present while upon another tree only seed-bearing catkins are 
 to be found. Such a plant is said to be dioecious. Evidently 
 in this case the pollen must travel from one tree to the other 
 in order that the ovules may be fertilized and develop into seed. 
 
 If you will pull apart one of the little florets that make up 
 the pollen-bearing catkin of the poplar and look at it through 
 a lens you will see a condition represented in the lower part of 
 the accompan3n[ng poplar plate. Each floret consists of a hairy 
 scale in the axis of which rises a curious stalked disk that bears 
 many stamens consisting of pollen- -bags or anthers upon very 
 short stalks or filaments. A little study of these anthers will 
 show that they contain a very light dusty pollen and that when 
 the anthers open they do so with a tiny explosion that sends 
 the pollen out as a cloud of dust that wUl be wafted away on 
 the slightest breeze. If now you examine also one of the florets 
 of the seed-bearing catkin you will find a condition shown on 
 the middle of the poplar plate. A hairy scale similar to the 
 other is found with a disk that bears only a single pistil which 
 consists of a large ovary and a large stigma. Upon this stigma 
 must be blown some pollen grains if the ovules within the ovary 
 are to be fertilized. 
 
 The alder and the poplar are wind pollenized plants and 
 so they have no nectar, or odor, or very conspicuous color. The 
 stigmas are well developed and the pollen is light and fine. 
 
 The attractive catkins of the pussy willows develop at about 
 the same season as do the poplars. A little observation will 
 
76 
 
 ALDERS, POPLARS, AND WILLOWS 
 
 Catkins of the pussy willow. 
 
ALDERS, POPLARS, AND WILLOWS 77 
 
 show that here also we have the pollen-bearing and the seed- 
 bearing catkins on separate plants. A single floret of the former 
 is shown at the left of the middle in the accompanying willow 
 plate. At the base is a hairy scale which bears a curious greenish 
 nectar-spur on which you can often find a drop of transparent 
 nectar. Back of this rise the two stamens with long filaments 
 and well-developed anthers that hold the somewhat sticky yellow 
 pollen. On the other side of the same plate is shown a single 
 floret from the pistillate catkin. Here we find the hairy scale 
 and the nectar spur, but in place of the two stamens a stalked 
 pistil consisting of the stalk or pedicel, the large ovary and the 
 rather large stigma at its tip. 
 
 In the case of the willow, the sticky pollen, the nectar, the 
 odor and the more conspicuous color all indicate that insects 
 rather than the wind are depended upon to carry the pollen. 
 And if some warm, sunshiny afternoon in April or early May 
 you take your pupils to a group of blossoming willows you will 
 see small bees, large bumble-bees, and various butterflies gather- 
 ing nectar or pollen or both and unconsciously carrying many 
 grains of the latter from the stamens to the pistils. 
 
 When the pupils have thus seen the significance of these 
 twigs you are asking them to draw they surely should be able 
 to make the lesson a more vital expression of their personality*. 
 
 *I am indebted to Miss Alice Manning of the Class of 1906, Lowell Normal School, 
 for the drawings on these Plates 
 
CHAPTER XI 
 NATURE DRAWING AND COMPOSITION 
 
 SELECTION OF SPRAY 
 
 A DRAWING of trees, arranged as are those in Figure i, No. i, 
 gives a result much the same as that produced in music 
 when one strikes at regular intervals but one note on the piano. 
 In a musical composition there must be a variety of tones ; in a 
 written essay different words are used, and in making an interest- 
 ing picture it is generally more satisfactory to use several forms 
 rather than to repeat one monotonously. The artist would 
 pass by a scene in the country similar to that suggested above 
 and perhaps continue until he found a subject more like the 
 lower sketch in Figure i, where the eye is not wearied by the 
 monotonous repetition of one form. 
 
 The child who brings to school a spray of the same general 
 character as those shown in Figure 2 is handicapped at the start. It 
 is better to select a plant form which has a variety in the size, 
 shape and arrangement of its elements. Such plants are abun- 
 dant by the roadside; for example, the woodbine, grapevine, 
 golden-rod, seed pods, etc. 
 
 Notice in the sketch of the woodbine. Fig. 12, No. i, how 
 varied are the leaves in size and position, how the stem changes 
 its direction at every joint, how the berries grow singly and in 
 clusters, and if we are to work in color, how much more interest- 
 ing is the varied color in the woodbine, the green and red leaves, 
 red stems and blue berries, than the repetition of the same leaf 
 in the same color, — green ! 
 
 SELECTION OF THE MOST INTERESTING PART OF THE PLANT 
 
 It often happens that it is not desirable to draw or paint the 
 whole of the plant which the child has on his desk. It may be 
 too large. Fig. 11, or a part of it may be uninteresting, or there 
 
NATURE DRAWING AND COMPOSITION 
 
 79 
 
 may not be sufficient time to make 
 a drawing of the whole, Fig. 7. 
 When this occurs, the pupil should 
 select the most interesting part 
 and draw that. It would seem 
 that the energy of the plant is 
 devoted to rearing the flowers into 
 the air where they can be seen, 
 and apparently nature has an- 
 swered for us the question as to 
 what is the most interesting part 
 of the plant. But occasionally 
 there is more beauty in the form 
 and color, in a group of leaves 
 or other parts of the plant than 
 in the flowers. It is a new prob- 
 lem with each plant, and one ngaie 1. 
 which the pupils can be encouraged to carefully consider. 
 
 SELECTION OF ASPECT— POINT OF VIEW 
 
 Have you ever watched a class of beginners in nature draw- 
 ing? Each member of the class has a spray to draw. The 
 word is given to place this spray on a sheet of drawing paper 
 on the left side of the desk. This being done, a uniform move- 
 ment is noticed all over the schoolroom— the pupils are "ironing 
 out" their plants. Each leaf is carefully separated from its 
 neighbors, all wrinkles are removed, and then with the palm of 
 
 the hand, any remaining spirit which 
 the plant may possess is quietly but 
 firmly crushed out. Perhaps some 
 small boy, more discerning than the 
 rest, will slyly slide his spray into 
 his geography and sit on the combi- 
 nation for a moment. All are work- 
 ing for the same end, getting their 
 Figure 2 plants "ready to draw." The results 
 
8o 
 
 NATURE DRAWING AND COMPOSITION 
 
 Figure 3. 
 
 on paper will be so many maps, Fig. 6, 
 No. 2, of the vanquished plants, drawings 
 without the life, vitality, grace and charm 
 of the living thing. 
 
 Which picture of this boat. Fig. 3, do 
 you prefer? Probably you will select 
 No. 2 or No. 3, because they have more go 
 in them, that is, more movement, more 
 life. There are more curved lines in these 
 drawings than in No. i, and more inter- 
 esting light and dark and spacing. 
 
 Before an artist would attempt to paint a finished picture 
 of boats he would make many sketches and studies of them in 
 all positions. Before the pupil can adequately represent plant 
 life, he must draw single leaves and flowers in various positions. 
 For this lesson avoid leaves having such irregular outlines 
 as the maple. The plantain leaf is a good one to begin with; 
 it is simple in contour and is pliable when on the desk. Dis- 
 courage any attempts to represent veins, lest the whole be sac- 
 rificed in mean- 
 ingless detail, as 
 illustrated in the 
 pupils' drawings 
 in Figure 5. 
 
 It is easier 
 to draw boat 
 No. I than either 
 of the others, 
 and it is easier 
 to draw a flat- 
 tened out leaf 
 than one which 
 appears fore- 
 shortened, but 
 after a few les- 
 sons in leaf per- Figure 4. 
 
NATURE DRAWING AND COMPOSITION 
 
 8i 
 
 Figure 5. 
 
 spective there is no excuse for ironed 
 out drawings. Each pupil should so 
 arrange the parts of his plant that a 
 naturalistic effect may be secured as it 
 rests on the paper on the desk, Fig. ii. 
 
 A DOMINANT PART IN THE COMPOSITION 
 
 There is always one principle 
 element or group in any work of art. 
 This element is generally made the more intelligent and beautiful 
 through the use of consistent accessories. 
 
 In our nature drawings we can avoid having two groups 
 of foliage of the same size and importance by picking off a few 
 leaves from one of these groups. The eye will rest with satis- 
 faction on the dominant group if we emphasize it in some way, 
 as by drawing it even more carefully and with stronger lines 
 than the subordinate parts, see Fig. 8. Notice that a certain 
 part of the plant shown in Figure 7 was selected as being the 
 most interesting, and that this selected part is made to hold the 
 attention of the spectator through the use of stronger lines, 
 and by subordinating the other groups of leaves and blossoms. 
 As illustrations of poor arrangement see Figure 6. No. 2 has 
 two elements of equal size and importance and the eye goes 
 restlessly from one to the other, as 
 the attractive force is equal in each. 
 In Nos. I and 4, the attention is called 
 to each spot and there is no group of 
 sufficient strength to retain the interest 
 for any length of time. 
 
 If we use a background in work- 
 ing in color it must be of a quiet tone 
 that it may not assume too important 
 a place in the picture. 
 
 It is excellent practice to have the 
 pupils select the dominant elements in 
 stories, buildings, pictures, etc. Figure 6. 
 
82 
 
 NATURE DRAWING AND COMPOSITION 
 PURPOSE, SHAPE AND SIZE OF FRAME 
 
 When one has spent a day in the country and has returned 
 with a little sketch, the natural impulse is to place it on the wall 
 in the house, where it may receive due consideration. If this 
 
 Figure 7, 
 
 background be a figured wall paper the modest message of the 
 sketch has but a very poor chance of being heard. It is as if 
 a hurdy-gurdy should be played in one corner of the schoolroom 
 during a recitation. If we wish to enjoy our sketch we must 
 in some way lessen the din which the background is making. 
 One way to do this is to put a mat or frame between our work 
 
NATURE DRAWING AND COMPOSITION 
 
 83 
 
 
 Figure 8. 
 
84 
 
 NATURE DRAWING AND COMPOSITION 
 
 and the wall paper, as shown in Figures 9 and 10. Ruskin says 
 that a frame is "a little space of silence," surely a good definition 
 here. Our nature drawing will often appear to a better advan- 
 tage if we inclose it in a frame or geometrical outline, leaving 
 a surrounding margin of blank paper. Decide how much of 
 your plant you are to include in your drawing and what frame 
 will best inclose this portion of the plant. Does it fit in a long, 
 slender oblong, in a wider one, a square or a circle? 
 
 As we have said, it is not at all necessary that all of the 
 plant be included in our drawing. It is often better to omit 
 
 T't.T^'t 
 
 Figure 9. 
 
 Figure 10. 
 
 the ends of leaves and stalks, or other parts, drawing our line 
 around the plant, and, passing the pencil over these outside 
 portions, continue the outline of the frame, as shown in Figure ii. 
 
 ARRANGEMENT IN THE FRAME 
 
 In an upper grade class room, the pupils selected a drawing 
 similar to the sketch. Fig. 12, No. i, as being one of the best 
 arrangements made during the lesson. One boy demurred 
 and said that it was growing "upside down." The class agreed 
 that a sketch like No. 2, so placed upon the wall, would be as 
 wrong as would No. 3. Further questioning brought out the 
 fact that the woodbine oftentimes grows on piazza posts and 
 rails as shown in No. 4, and that if we were to select a bit of the 
 growth, say that inside the oblong in No. 4, it would apparently 
 be wrong side up. But this is the natural growth of the plant, 
 
NATURE DRAWIHG AND COMPOSITION 
 
 85 
 
 and so ^hat seems, at first thought, to be wrong side up, is right 
 side up for that particular plant. And the characteristic growth of 
 the plant is best shown in a drawing of this kind. In fact many 
 plants, if drawn with the stalks and leaves growing upwards, 
 would be incorrectly represented. 
 
 The woodbine apparently 
 grows in from the frame, and in 
 some places it seems to grow out 
 again. This arrangement sug- 
 gests that the whole life of the 
 plant is not shown, that it has 
 roots and other elements, and 
 that the artist selected the part 
 which appealed to him. See also 
 Figure 13, and compare with the 
 floating violets in Figure 6, No. i. 
 (Violets never grow this way — 
 except on doilies.) 
 
 Another way to suggest that 
 the drawing is a representation of 
 but a part of the whole growth is 
 shown in the reproduction of the 
 Japanese print. Fig. 13, where the 
 artist has allowed the drawing of 
 the stalks to gradually fade away. 
 This is the plan followed by 
 photographers in vignetted prints. 
 
 We will now arrange our plant so that it shall appear 
 to grow in from behind the frame, and we have decided 
 that it is wise to have a dominant element in our composi- 
 tion. There are certain principles relating to the placing of 
 the elements in a picture which are generally recognized as 
 tenable : 
 
 (i). They should be so placed as to obtain "hariety and 
 rhythm in the spacing, — a consistent movement in the size of 
 the spaces from the largest to the smallest. 
 
 Figure 11. 
 
86 
 
 NATURE DRAWING AND COMPOSITION 
 
 w 
 
 
 1 
 
 
 -fV'- 
 
 Jv, 
 
 
 iW 
 
 
 & 
 
 Y /ivL 
 
 
 V>'} 
 
 
 f ^ 
 
 W'-'' "^ 
 
 
 jf' 
 
 
 
 3-^ 
 
 Figure 12. 
 
 A single mass placed Mechan- 
 ically in the center of the space, or 
 the bisection of a space T)y vertical, 
 horizontal or oblique lines, produces 
 monotonous spacing. (Figs. 2 and 6, 
 Nos. 2 and 3.) 
 
 (2). The forces in a composi- 
 tion should be so arranged that they 
 balance one another with regard to a 
 common center. This common center 
 is the center, or a little above the 
 center of the inclosing line of the picture. 
 
 Each spot of light or dark or color is an attractive force. 
 The force of a spot is dependent upon its measure (area) 
 and its contrast with the surrounding tones. Equat forces 
 balance on any straight line at eqaat distances from the center. 
 Two forces, equal in measure and contrast, or, a small mass 
 strongly contrasted with the ground in color or value and a large 
 mass of less contrast (two equal forces), will balance each other 
 at equal distances from the center. 
 
 Unequal forces balance each other on &Txy- straight line, 
 when their distances from a given center 'vary in'oersety as the 
 forces; e. g., a force near the center may be balanced by a 
 smaller force more remote from the center. Fig. i. No. 2, and 
 Figs. 9 and 13. 
 
 CHARACTER OF THE LINE OF THE FRAME 
 
 Our art store windows have photographic and other prints 
 encased in frames of brown, black, gray or gray-green, in accord 
 with the prevailing tones in the picture. "Harmony is a con- 
 sistency in character." 
 
 An ink drawing in a pencil frame is not consistent in char- 
 acter, and the pencil outline is not generally strong enough to 
 state, "Here is the drawing." A pencil drawing in an ink frame 
 is not only equally inconsistent but states positively, "Here is the 
 frame." The picture is the dominant element, the thing to be seen. 
 
NATURE DRAWING AND COMPOSITION 
 
 87 
 
 In working in color, choose some grayed or subdued tone, 
 which is an echo of some color used in the picture, and go over 
 the line of the frame with that color: then there is a relationship 
 in color between the picture and frame. 
 
 Figure 13. 
 
 THE SIZE, PLACING AND COLOR OF THE INITIALS 
 
 The reverse side of the sheet is the place for the pupil to 
 put his name, age, grade, date, school and other necessary (?) 
 information. The spectator's interest in the drawing should 
 not be disturbed by the pupil's autobiography. Moreover, 
 writing of this kind on a drawing is as much out of place as it 
 would be on the work of an older artist. Look over the pictures 
 in the text-books and those upon the walls and see how the 
 artists have ver j carefully subordinated their signatures. Some- 
 times in school the name overwhelms the drawing — decorated 
 signs instead of signed decorations. 
 
88 NATURE DRAWING AND COMPOSITION 
 
 We are to acknowledge our work in a modest way by placing 
 our name or initials, not on the frame, nor outside of it, but in 
 the right place on our picture or decoration. We are to place 
 this signature that it will be an added decoration. Look at the 
 Japanese print. Fig. 13; in the lower right part you will find 
 the artist's signature. He carefully considers the balance of 
 his composition, and if the forces seem too strong on either side, 
 or the top or bottom, he places his signature on the opposite 
 side as a counteracting agent. 
 
 A Japanese signature is placed in a small oblong or circle, 
 corresponding in general shape to the unoccupied portion inside 
 the frame which is to hold it. It is a part of, yet quite separate, 
 from the drawing. What has been said above regarding the 
 character of line of the frame is applicable to the color and 
 line of the little frame for the initials — if they have one — that 
 the whole may be consistent. 
 
CHAPTER XII 
 DECORATIVE ARRANGEMENT 
 
 A STUDY from nature should be an expression of charac- 
 ter. It is of value in proportion as it presents essential 
 truths of color, form, and structure, and should be so placed 
 upon the sheet as to suggest the natural position and growth 
 of the original. 
 
 If it is to serve a decorative purpose, something more is 
 necessary. Whatever beauty it may possess in itself, it must 
 be brought into the best possible relation with its environment. 
 A decorative arrangement then, involves: the adaptation of 
 subject and inclosing form, and such a placing of the subject 
 as will secure a balance of the masses represented, and an agree- 
 able variety in the division of the space. The inclosing form 
 must be consistent with the subject in shape, size and proportion. 
 See illustrations on pages go, 91 and 92. 
 
 The apple branch appears to greater advantage in the square 
 I, than in the oblong 3, but the circle 2 is best adapted as an 
 inclosing form. A comparison of 4 and 5 will show that the 
 space in 4 is not well filled. The square in 5 is a better size 
 for the material contained. The effect of 6 is more satisfactory 
 than that of 7, because the oblong is of better proportion for 
 the subject. 
 
 The division of space is good in both 8 and 9, but 9 is the 
 more satisfactory because it gives the greatest space where it 
 appears most needed. The end of the branch is too near the 
 lower margin in 8. The other suggests more freedom. So 
 that arrangement is most reasonable which allows most room 
 in the direction in which the subject would grow or develop. 
 
 If a spray is to be used in the decoration of a cover, gift 
 card, or calendar, the one consideration which must govern its 
 selection is that of appropriateness. Let the decoration be 
 
90 
 
 DECORATIVE ARRANGEMENT 
 
 consistent with its use. The title, inscription, or pad, is an impor- 
 tant feature in the balance of the whole, but the initials or name 
 of the designer should not occupy an important place. In the 
 work of the little people, the use of the initials as an element 
 
DECORATIVE ARRANGEMENT 
 
 91 
 
 in the balance may be encouraged, but as otir work becomes 
 more dignified, let us be professional. The artist adds his name 
 to his picture or decoration in an inconspicuous place ; not as 
 a part of the composition, but as a means of identifying his work. 
 
 Such suggestions can be appreciated by pupils of the lower 
 grammar grades, and if wisely presented, will lead to intelligent 
 work. 
 
 An excellent first step in the teaching of this subject is to 
 show pupils examples of good decorative arrangements. And 
 
 these should \\e the best obtainable : drawings, Japanese prints, 
 cover stamps, etc. Foot pieces clipped from old magazines are 
 helpful. Those in 10 are from the collection made by a pupil, 
 and are of the right sort. Such things are incentives to good 
 work. Nothing inspires yoimg people more than to feel that 
 they are engaged in doing the same things as men and women 
 in the world. 
 
 After the discussion of whatever illustrations are at hand, 
 fasten several sprays or branches against the wall, or attach 
 them to a background of stiff cardboard and place at a convenient 
 height where they can be readily seen. Have a number of 
 cardboard mats with openings varying in shape, size and pro- 
 portion. Place each of these so that the opening will inclose 
 
92 
 
 DECORATIVE ARRANGEMENT 
 
 the whole or a part of a specimen, and let the class choose the 
 opening best fitted to each subject and decide its position. At 
 another time, have pupils practise on the desks with simple 
 specimens, using four strips of paper or card to make a frame 
 which may be modified in size or proportion to fit the twig or 
 spray. Repeat, using drawings from nature in place of the 
 sprays. Afterward, have decorative arrangements drawn in 
 appropriate spaces, using pencil, brush and ink, or color. A 
 drawing which is not wholly satisfactory in its arrangement, 
 may sometimes be improved by cutting down the paper on which 
 it is made and mounting it on a sheet of different tone. The 
 result of this treatment is shown in 1 1 . 
 
 In these suggestions, we have considered only the adaptation 
 of the inclosing form to the material contained. The adap- 
 
DECORATIVE ARRANGEMENT 
 
 93 
 
 A drawing which has been trimmed and mounted 
 on a sheet of different tone. 
 
94 
 
 DECORATIVE ARRANGEMENT 
 
 tation of the branch or spray to the inclosing form by modifica- 
 tion is a more difficult problem, to be undertaken in higher 
 grades. 
 
 The arrangement in 12, 13, 14, has been repeated by tracing. 
 In 13 a middle tone has been used in addition to black on a white 
 ground, and 14 shows the same tones on a ground of gray paper. 
 Such an exercise gives excellent training in the adjustment 
 of tones. 
 
 The decoration on the calendar, i S, is appropriate to the month. 
 
 15 
 
DECORATIVE ARRATfGEMENT 
 
 OS 
 
 16. A design for a cover, from the poppy. 
 
96 
 
 DECORATIVE ARRANGEMENT 
 
 Flower-de-luce^ 
 bloom on, and let 
 the riVer 
 
 Linger to kiss 
 
 th/feet. 
 
 Longl-eMovv. 
 
 W,N,S. 
 
 IT. A cover for a gift book, by a fifth grade pupil. 
 
DECORATIVE ARRANGEMENT 97 
 
 The design for a cover, 16, was made from a live poppy, 
 after studying the cover stamp on "Bartlett's First Steps in 
 English." In a fifth grade room, one spring morning, the 
 teacher had been reading to the children from Longfellow's 
 "Flower-De-Luce," and asked them to select lines from the 
 poem which might be used with a drawing of the flower to deco- 
 rate a cover suitable for a gift book. A large jar filled with 
 blossoms of the blue flag stood on the table. These were dis- 
 tributed. From the covers made by the class, 17 was selected 
 as one of the best. 
 
 Children readily learn that the important lines in a com- 
 position must not divide the space equally, and that the most 
 important mass should not occupy the center of space; but to 
 lead them to appreciate that subtle variety in the divisions 'of 
 space, and those relations of masses and tones which result in 
 beauty, requires much patient help by the teacher and continued 
 practice by the pupils. But this work is do-able on the pupil's 
 plane, and it is worth while. If we help to refine the children's 
 taste by leading them to see relations, our work is in harmony 
 with the best that is done. 
 
CHAPTER Xm 
 DECORATIVE ARRANGEMENT 
 
 THE secret of naturalistic arrangement having been learned 
 by the pupils, their next problem is decorative arrangement. 
 In naturalistic arrangement the designer's first thought is for 
 the flower, that it may appear at its best within a given space. 
 In decorative arrangement his first thought must be for the 
 space itself and its subdivisions. The aim is not a picture of a 
 flower, but rather, as Mr. Dow puts it, "an irregular pattern of 
 lines and spaces, something far beyond the mere drawing of a 
 flower from nature and laying an oblong over it." 
 
 In decorative coiflposition "there is no intention of making 
 a design to apply to anything as decoration, hence there need be 
 no question as to the amount of nature's truth to be introduced. 
 The flower may be rendered realistically, as in some Japanese 
 design, or reduced to an abstract suggestion, as in the Greek, 
 without in the least affecting the purpose in ^iew, namely, the 
 setting of its lines into a space in such a way that beauty shall 
 result."* 
 
 Mr. Dow still further defines the problem when he adds, 
 "It is essential that the space should be cut by the main lines . . 
 all the lines and areas must be related one to another by con- 
 nections and placings so as to form a beautiful whole." 
 
 A thoughtful reading of these concise but far-reaching 
 declarations will reveal the three prime factors in every problem 
 in decorative arrangement: Irregularity of pattern, inter- 
 relations of lines and spaces, unity of effect. But the teacher's 
 problem, the teaching of decorative arrangement, — that has not, 
 as yet, been so helpfully set forth. Perhaps nobody knows enough 
 to do it. Meanwhile we must go on with such light as we have. 
 
 * Composition, by Arthur W. Dow, p. 46. 
 
DECORATIVE ARRANGEMEHT 
 
 99 
 
100 DECORATIVE ARRANGEMENT 
 
 Of one thing we are beginning to be sure, namely, that 
 decorative arrangement cannot be taught by rule, nor from copy 
 alone. We are equally sure of another thing, namely, that it 
 should not be attempted in the lower grades. A certain maturity 
 
 of mind is required, a capacity to experiment, weigh, choose, 
 a sensitiveness to proportion and beauty of line. Given, then, 
 a class of seventh grade pupils or pupils of any age beyond that, 
 something about decorative arrangement may be taught by a 
 method similar to that which I shall now follow with my invisible 
 class of Arts Book readers. 
 
 Here is a drawing, Plate i, I have just made from a dried 
 spray of catbrier which has hung in my study for several years. 
 I selected it as a subject because it is practically a spray reduced 
 to its lowest terms — lines and spots, and because it seemed to 
 me so unpromising, so awkward in its lines and angles, that if 
 anything beautiful could be made from it one might have hope 
 of any spray whatever. (Of course, for a class in school I would 
 
 have the drawing without the snarl of rectangles.) Here is 
 a right angle cut from gray paper (L) and another just like it 
 making two (L~l) that may be used together to give a rectangular 
 opening of any proportion and of any size up to the limit set by 
 the length of their sides. 
 
DECORATIVE ARRANGEMENT 
 
 !^ 
 
 
 Placing my adjustable frame over the lower part of my 
 
 drawing I discover by experi- 
 ment an arrangement which 
 
 pleases me. This is done 
 
 by moving the angles to 
 
 make openings of different 
 
 shapes and sizes, trying the 
 
 opening in different posi- 
 tions on various parts of the 
 
 drawing, I finally decide 
 
 that I like best the arrange- 
 ment included within the 
 
 rectangle of dot-and-dash 
 
 lines marked i m the Plate. 
 
 I have traced this arrange- 
 
 meift at Figure i that we 
 
 may see it by itself. By 
 
 hunting with my trap-frame 
 
 I manage to take two other 
 
 arrangements in horizontal 
 
 oblongs which give me pleas- 
 ure to see, those indicated 
 
 by the rectangles 2 and 3 in 
 
 the Plate. These are traced 
 
 to make Figures 2 and 3. 
 
 I hope you like them. 
 
 Let us now see why we 
 
 like them. Perhaps we can 
 
 find out by comparing them 
 
 with other arrangements cut 
 
 from the same spray. Figs. 
 
 A, B, C, D and E. What is 
 
 the matter with A? It lacks 
 unity. The eye jumps from the upper mass to the lower as 
 a caged bird hops from perch to perch. That exercise becomes 
 tiresome after a while ! C is better than A in this respect. What 
 
DECORATIVE ARRANGEMENT 
 
 is the matter with B? This lacks unity also. There are three 
 masses which attract the eye ; yes, four. The 
 mind begins to play puss-in-the-corner at 
 once ! Three corners are full and the fourth 
 puss is trying to exchange ! Moreover, that 
 long, black stem continually slides the eye 
 unpleasantly over a rough diagonal of the 
 oblong. This is as bad as D where the eye is 
 jerked up and down over a thorny vertical 
 diameter. The parts will not let the eye rest 
 content with the whole. C has unity; why 
 is C unsatisfactory? At the first glance the 
 eye sees a dark spot strung on a horizontal 
 diameter in the middle of a white square, all 
 of which suggest regularity, not irregularity, 
 the first characteristic oif decorative arrange- 
 ment. Besides, the spot is so solid and so 
 small in proportion to the square that the eye 
 has difficulty in grasping both at once. The 
 attention is drawn to the center and then dis- 
 persed to the square, over and over. After 
 contemplating it for a time one feels like a 
 jelly-fish forever expanding and contracting ! 
 Not so, however, when looking at D. What 
 is the matter with D? In D, at the first 
 glance, the attention is caught by the extra- 
 ordinary phenomena of two large, odd-shaped 
 spaces so nearly alike that the mind begins to 
 compare them to jJiscover why they are not 
 exactly alike. Of course, these two leave two 
 other corner spaces of nearly the same area. 
 Again the parts obscure the whole. Now 
 when we are thinking of areas, let us review 
 A, B, C and D, with areas in mind. In C we find two equal 
 areas; in D two pairs of equal areas; in A equal areas above 
 and below, and one, about equal to the sum of the two, in the 
 
DECORATIVE ARRANGEMENT 
 
 103 
 
 middle. All such 
 subdivisions tend 
 towards regularity 
 and are therefore 
 objectionable in 
 decorative arrange- 
 ment. But in B 
 there is no such 
 tendency. Here 
 are five well-de- 
 fined triangular 
 spaces, varying 
 greatly in area. 
 Yes; that is the 
 trouble with them ! 
 They vary too 
 much ; so much 
 that the eye picks 
 out the little one, 
 and sets the mind 
 to wondering why 
 this little triangle 
 was squeezed into 
 a corner without 
 its share of the 
 spoil ! In good 
 decorative arrange- 
 ment there is an 
 ordered variety, a 
 graduation of sizes, 
 or as some say, a 
 rhythm of meas- 
 ure, in the areas 
 whether they be 
 areas of background or areas of spot. This same variety appears 
 also in the lengths of lines in the stems, and in the subdivision 
 
104 
 
 DECORATIVE ARRANGEMENT 
 
 of the margin lines by intersecting lines. In C the lengths of 
 stem are equal, and the side margin lines are about equally 
 divided. In B, the left margin line is nearly bisected by the twig, 
 
 and the right one has an equal length set off above and below by 
 the intersecting lines. Both C and B are monotonous in this 
 respect. But what is the matter with E? Well, in the first place, 
 the stem bisects the lower margin line. In the second place, 
 the frame is too large for the subject and the mind performs 
 as at C. Thirdly, and worst of all, the center of attraction is 
 out of place. Every spot, line, intersection, blank space, angle 
 in a decorative arrangement has a certain attraction for the 
 
 eye, varying according to char- 
 acter, size, position, relation to 
 
 others, etc. Some of these 
 
 attractions can be measured 
 
 and some cannot, but all can 
 
 be felt, and all play their part 
 
 in the effect. Now without 
 
 giving reasons, it may be laid 
 
 down as an invariable rule 
 
 (with exceptions, perhaps !) that 
 
 the center of attractions, the 
 
 point about which they coun- 
 terbalance one another, must be 
 
 located on the vertical diameter 
 
 of the inclosing form, and 
 
 slightly above the geometric 
 
DECORATIVE ARRANGEMENT 
 
 los 
 
 center.* In E, the single berry happens to be where the center 
 of attractions should be located, but owing to the large, dark 
 mass of berries below, the actual center of attractions is at X. 
 
 The whole would be 
 
 better the other side 
 
 up. Before leaving 
 
 these five bad exam- 
 ples, let us notice that 
 
 in A the long axes of 
 
 the oblong masses of 
 
 spots are horizontal, 
 
 while the long axis of 
 the inclosing form is vertical. Here is an unnecessary lack of 
 harmony between the inclosing form and its content. 
 
 12 
 
 Now what have we learned? 
 pleasing decorative arrangement 
 
 We have learned that in a 
 
 1. The principal axis of the entire mass should be parallel with the prin- 
 
 cipal axis of the inclosing form. 
 
 2. That all the attractions should balance about a point on the vertical 
 
 axis of the inclosing form and above its center. 
 
 3. That all the areas and lengths of line within the inclosing form should 
 
 form graduated series. 
 
 4. That the "connections and placings" of all the lines and areas must 
 
 be such that unity of effect is the result. 
 
 The whole matter may be stated concisely, thus: A good 
 decorative arrangement like any other work of art is one which 
 does not tempt the mind to analysis, but holds and entertains, 
 and satisfies the mind with the happy interdependence of all 
 its parts. 
 
 Returning now to our figures i, 2 and 3, do we feel that 
 they have Unity? That their measures in line, space and mass 
 are varied in an orderly way? That all the attractions balance 
 on the vertical axis and above the center? That the long axes 
 of the masses are parallel with the long axes of the inclosing 
 
 =^For a discussion of this see Year Book, Council of Supervisors, 1902, article Pictorial 
 Composition, Bailey. 
 
io6 
 
 DECORATIVE ARRANGEMENT 
 
 forms? If so they are not too bad, though we may wish them 
 better. Our poor catbrier is not very graceful anyhow; but we 
 must do the best we can with what we have. 
 
 Continuing our experiments with the 
 adjustable frame, let us see what we can find 
 to fill vertical oblongs agreeably. Figures 4, 
 5 and 6 are three typical results. Figure 4 
 is a terminal spray. In 5 two bunches of 
 berries make practically one mass. In 6 
 several masses balance one another. Fig- 
 ures 7, 8 and 9 show similar arrangements 
 within squares. Of course several of these 
 might be greatly improved by taking liber- 
 ties with the original drawing. In 6, for 
 example, the first twig touching the right 
 margin line and both those touching the left 
 are too nearly horizontal. The upper one 
 at the right and the lower at the left should 
 slant downward for the sake of variety. The 
 same twig, making almost a right angle with its stem, appears 
 in 7 (I am afraid I have varied it a little from the original, but 
 not enough), forming an obtrusive line. In 8 there ought to 
 have been a berry or two on the other side of the main stem. 
 In actual schoolroom practice such defects would be noted and 
 remedied. Here I held closely to the original to see just what 
 could be gotten out of it. And having done that, I discovered 
 that by making the slightest possible variation in the thickness 
 of stems, to reverse the apparent growth, many other good 
 arrangements could be squeezed from this same unpromising 
 subject, of which 10 and 11 are examples. In these the main 
 stems make sharp diagonals with the lines of the inclosing form ; 
 but the branches furnish strongly opposing lines and the berry 
 masses completely restore the balance. 
 
 The principles of decorative composition remain the same 
 if the relative areas of dark and light are reversed so that dark 
 becomes the dominant note. Figures 12, 13 and 14 illustrate 
 
DECORATIVE ARRANGEMENT 
 
 107 
 
 such arrangements and suggest that the possibilities of my poor 
 catbrier are not exhausted. They show also certain variations 
 in handling. In 12 a secondary inclosing form echoes the 
 lighter lines within. In 13 the white spaces have been outlined. 
 In 14 the spray appears on a ground of gray, outlined with white. 
 While a poor arrangement cannot be disguised by clever handling, 
 a good arrangement may often be made more attractive by it. 
 "Fine feathers do not make fine birds"; but fine birds seldom 
 appear in anything but fine feathers. Beauty is ever welcome. 
 Japanese art is responsible for decorative arrangement in 
 American schools; but a Japanese print (Figure 15) would never 
 yield the varied and instructive results educed from this homely 
 native catbrier. From it I learn again the possibilities of the 
 commonplace. Do you recall that wise word of Van Dyke's? 
 "To be content with such things as I have, but not content until 
 I have made the most of them." 
 
CHAPTER XIV 
 NATURE DRAWING IN HIGH SCHOOLS 
 
 "Flower in the crannied wall 
 
 I pluck you out of the crannies, 
 
 Hold you here, root and all, in my hand, 
 
 Little flower ; but if I could understand 
 
 What you are, root and all, and all in all, 
 
 I should know what God and man is." 
 
 — Tennyson. 
 
 "To him who in the love of nature holds 
 Communion with her visible forms, she speaks 
 A various language." 
 
 — Bryant. 
 
 HER message is the birthright of all, and it is the realization 
 that not all have come into the full possession of it that 
 is the inspiration of the teacher of nature drawing. The 
 teacher's work is, first of all, to make it quite clear to the pupil 
 who has not yet heard, that "she speaks;" second, to make 
 plain the conditions under which she speaks; and third, in some 
 measure to lead to an interpretation of her "various languages." 
 "Love is the secret of art as it is the secret of life," and it 
 is ever the key to the beautiful. The measure of satisfaction 
 which we derive from life is largely dependent upon our attitude 
 toward it. The measure of joy which we experience in our 
 communion with nature is quite as dependent upon the attitude 
 of mind in which we consider her. Quite unconsciously we 
 come into the possession of our habits of mind. Quite uncon- 
 sciously the pupil may be led into an attitude of reverent and 
 loving appreciation of nature, and at length into that communion 
 with her visible forms which will make her language audible. 
 
NATURE DRAWING IN HIGH SCHOOLS 109 
 
 Then, for himself, he may discover with Rossetti, that "flowers 
 preach to us if we will hear," and that "not alone the fairest 
 
 flowers" : 
 
 "The merest grass 
 
 Along the roadside where we pass, 
 Lichen and moss and sturdy weed, 
 Tell of His love who sends the dew, 
 The rain, and the sunshine too. 
 To nourish one small seed." 
 
 That nature's language is "varied" all who have heard it 
 know, but our pupil may not. Perhaps all his life until now, 
 to him a flower has been just a flower, and he has not thought 
 that "flowers are words." Perhaps he has not realized that 
 "there is one glory of the sun, and another glory of the moon, 
 and another glory of the stars;" and that as "one star differeth 
 from another star in glory," one flower differeth from 
 another flower in glory. It is the poet who best has learned 
 to catch the message of the flowers. It is he by whom their 
 whispered secrets are best understood, and in his song he passes 
 on to us of duller sense, the hints they give him of their subtle 
 character. What delicacy of appreciation of the 'baried lan- 
 guage he suggests as he tells us of the bashful primrose, the 
 timid jasmine, flouncing bouncing-bet, proud sweet-william, 
 the grim brown lichen, gay nasturtium, majestic golden-rod, 
 bridelike lily, refulgent marigold, •vain narcissus, sweet peas on 
 tip-toe for a flight. And listen ! How delicately suggestive 
 are lines like these : "Poppies, nodding their sleepy heads," 
 "hollyhocks smiling fearless at autumn's frost," lilacs, drooping 
 like a wounded warrior's plume," "buttercups' faces beaming 
 and bright," "yellow marigolds wide awake," "dandelions proud 
 of the gold in their hair," "daisies, their white fingers half 
 clasped in prayer," "meek faced anemones drooping and sad," 
 
 "The lupin here, 
 
 Low droop their sorrowing leaves, 
 And close their humid eyes." 
 
 "The tall white rue stands like a ghost 
 That sighs for days departed." 
 
no NATURE DRAWING IN HIGH SCHOOLS 
 
 We shall not have completed our task until our pupil, like 
 
 "The poet, faithful and far-seeing, 
 
 Sees alike in stars and flowers, a part 
 
 Of the selfsame universal being. 
 
 Which is throbbing in his brain and heart," 
 
 a being so changeful, so varied and so delicately organized that 
 he himself knows that not the whole range of language can give 
 it adequate expression. The high school pupil can never fully 
 express himself. His power to appreciate is vastly greater than 
 his power to express. When he has come to know what nature 
 holds for him, who can say but he, American that he is, may find 
 that she is offering him a new form of expression of which he 
 has not dreamed. Had the dreamy, mystic East been his home, 
 instead of the wide awake practical West, he would have known 
 that in his land "they talk in flowers," weaving of bud and leaf 
 and petal garlands of thought, fraught with loves and cares, 
 and so arranged as "to work out choicest sentences." But he 
 is a child of the West and little does he know of the flowers as 
 symbols of thought. Yet suppose he knew and understood the 
 accepted meanings of the forms which he paints, arbitrary though 
 symbolism sometimes may seem, would he not paint them better? 
 Would he not look with more intelligent interest for the elements 
 worthy of emphasis? Would he not be more alert to catch 
 nature's own suggestions and better prepared to hear her voice? 
 Let us tell him all we know of the meaning that others have 
 read in nature's forms, and by doing so wake the sensitiveness 
 to suggestion which must ever dominate the mental attitude 
 of him who would hold communion with her. 
 
 Does the pupil in our high school class paint mechanically? 
 Is his highest aim to reproduce color and form? Does his work 
 lack feeling? Has the teacher who has found it so let the poets 
 help her? Some day this fall when your class is painting from 
 the mullein, read to them as they paint, Theron Brown's "Mullein" 
 and note the result. Or when you have with you those "blind 
 little beauties of the wayside" read aloud his "Closed Gentians." 
 When your room is gay with nasturtiums, read Helen Hunt 
 
NATURE DRAWING IN HIGH SCHOOLS iii 
 
 Jackson's "My Nasturtiums," and some day before it is too late 
 to find the flowers, read her "Song of Clover." Of course you will 
 not forget to use the "Fringed Gentian" by Bryant, nor "Sea-side 
 Goldenrod" by Celia Thaxter, and when the frost opens the 
 "velvet pouch," and the autumn wind scatters the "fairy fabric" 
 you will remember Ray Lawrence's "Milkweed." And as one 
 by one the flowers come and go in long succession as the seasons 
 change, you will find use for such verses as these, and many 
 more : "The Painted Cup" by William CuUen Bryant ; "Daisies," 
 Bliss Carman; "The Wind-flower," Lucy Larcom; "Hepatica," 
 Isaac Bassett Choate; "Jack-in-the-Pulpit," edited by J. G. 
 Whittier; "Daffodil," William Wordsworth; "To the Dandelien," 
 James Russell Lowell. 
 
 Snatches of song about the flowers you will find in abundance 
 in Shelley, Shakespeare, Keats, Burns, Bryant, Lowell, Tennyson 
 and Wordsworth. Sometime when you know in advance the 
 flower that you are to use in class, spend a little time in the library, 
 and see how many times you can find its messages in verse, and 
 bring to your class the results of your search. Do you fear 
 that they will be unresponsive? Try it and see. 
 
 "Flowers have an expression of countenance as much as men or animals. 
 Some seem to smile ; some have a sad expression ; some are pensive and diffident ; 
 others again are plain, honest, and upright, like the broad-faced sunflower, 
 and the hollyhock." 
 
 — Henry Ward Beecher. 
 
 II 
 
 IN all art work, appreciation and a desire for expression are 
 all-important and co-ordinate. This is particularly true 
 when nature furnishes the subject. For this reason, whenever 
 it is possible, let the subject be one of the pupil's own choosing. 
 The high school pupil should be able to make an intelligent, 
 choice, and can usually be relied upon to bring to the studio such 
 material as can be used. He may not choose wisely at the begin- 
 ning, but let him paint for a few days from subjects carefully 
 chosen by the teacher, whose experience has proven what is best. 
 
NATURE DRAWING IN HIGH SCHOOLS 
 
 and he will gladly suggest 
 and willingly go a-search- 
 ing for material which he 
 thinks he can secure. 
 
 Usually the larger 
 forms will serve us best. 
 This is true not only be- 
 cause they demand the 
 breadth of treatment 
 which is the ideal toward 
 which we are working as 
 regards technique, but 
 also because they demand 
 a breadth of thought as 
 well, and a mental grasp 
 of essential characteristics 
 which leads to an appre- 
 ciation of and a regard 
 for the "spirit" rather 
 than the "letter." This 
 leads very directly to in- 
 terpretation of character, 
 and then it is but a step 
 into the realms of ideali- 
 zation. Such subjects as 
 the following are good 
 ones for the autumn 
 work ; the aster, the 
 canna, the gladiolus, the 
 golden-rod, the hollyhock, 
 the cosmos, the sunflower, 
 the squash blossom on the 
 vine, the mountain phlox, 
 the sumach, fruit on the 
 branch, the cat-tail, and 
 the mullein. These are far better than the forms of smaller growth. 
 
NATURE DRAWING IN HIGH SCHOOLS 
 
 H3 
 
 Nature work, if it" is to be successful, must interpret nature. 
 Because this is true, care should be taken in selecting the speci- 
 men from which the work is to be 
 done, that it be the one that shall 
 best tell the story of the plant or of 
 the flower. Individual characteris- 
 tics must be recognized and the 
 selection made with a view to 
 emphasizing them. Again nature 
 work, — indeed all art work if it be 
 art at all, must aim toward the 
 achievement of beauty. Because 
 of this the specimen which is not 
 only most characteristic, but also 
 most beautiful, should be chosen. 
 
 But the subject matter, al- 
 though it is an important con- 
 sideration, is not the only one of 
 importance. The manner of pre- 
 sentation is perhaps quite as im- 
 portant. How may we guide the 
 pupil so that he shall lay hold upon 
 all that the bit of nature from 
 which he is to work holds for him? 
 And how shall we help him to 
 record in color and in form his 
 response to its influence? Shall we 
 point out the charm of color and of 
 growth? Shall we call attention 
 to the subtlety of line, and to the 
 delicate poise of bud and flower on 
 stem? Or, instead, shall we allow 
 
 the pupil to discover the beauty of the form for himself? Do 
 we expect him to discover unaided all the charm of suggestion 
 in the work of Shakespeare, or Macaulay, of Milton, or of Chaucer, 
 with which he deals in his study of literature? Surely not. 
 
114 
 
 NATURE DRAWING IN HIGH SCHOOLS 
 
 
 
 ■ ^'^^^-^ 
 
 
 
 
 
 {BZ-x^^^^H^^^H^^H 
 
 
 Ik ..'^ptt 
 
 
 k«, ^'^^ 
 
 
 ^I^^B- : 
 
 
 1 
 
 ^1 '' 
 
 
 
 ■ 
 
 
 _ 
 
 ^ t; *l>i*^; ■ /■ 
 
 The cosmos. A drawing in body water color 
 on a brown ground. 
 
NATURE DRAWING IN HIGH SCHOOLS 
 
 IIS 
 
 Why then should we hesi- 
 tate to point out all the 
 beauty we can? There 
 will be enough left for him 
 to discover, and because he 
 sees with other eyes than 
 ours, he will find in nature 
 what we perhaps should 
 never see. 
 
 It. is just here that we 
 can call the poets to our 
 aid, for they have told in 
 song far better than the 
 most of us can ever hope 
 to tell, the individual 
 charm of many a flower. 
 Sometimes a little snatch 
 of poetry repeated or read 
 aloud, gives in a flash the 
 character of the subject, 
 and is an inimense stimulus 
 to the imagination and to 
 independent thought. 
 
 When the character 
 has been studied, and the 
 pupil is ready to paint, 
 always the first thing to 
 consider is wherein the 
 greatest charm of the sub- 
 ject lies, whether it be in 
 loveliness of color, in 
 beauty of line, or in dis- 
 tinctiveness of growth. 
 This will at once determine 
 the placing of the emphasis. 
 Sometimes it is well to concentrate the thought upon the one 
 
ii6 NATURE DRAWING IN HIGH SCHOOLS 
 
 element of beauty, to the exclusion of every other. If the subject 
 be one in which the greatest interest lies in the color, forget to 
 draw, and without a thought as to form, blot in the color with 
 perfect freedom, making trial after trial, until the color satisfies. 
 If it is possible, continue the study and when the color has been 
 grasped, work toward truer form, but if the time is short, do 
 not be disturbed if at the close of the lesson you have only a 
 series of color blots, if the color is true. If the chief beauty 
 lies in the form, study again in the same exclusive way, using 
 pencil, brush and ink, or monochrome. If the massing is worthy 
 of special study, try working in silhouette. 
 
 When time will allow it, the final sketch may well be preceded 
 by a series of these preliminary sketches, in which one phase 
 at a time is emphasized in studies which preclude all thought 
 but that of the one feature of interest. 
 
 Most pupils need to be made acquainted with the possibility 
 of idealization. There is always the danger of being too literal. 
 Yet there is always the possibility of modification without inter- 
 ference with the expression of character. Ever the goal should 
 be the beautiful, and ever the approach must be made from the 
 standpoint of the ideal. Unguided, the pupil will always paint 
 what he sees. Let him once grasp the thought that it would 
 be better should he paint what he ivishes he might see, and at 
 once he will begin to idealize, and we shall begin to reap a harvest 
 of beauty. 
 
 If there is sensitiveness to the appeal of the subject, and. keen 
 delight in the work, technique will in a large measure take 
 care of itself. Facility will be developed by experience. The 
 joy of painting from a lovely form should never be lessened by 
 the thought of how to do it. To the best result the consideration 
 of size and position of paper, the choice of an inclosing space 
 and the placing of the form within it, is of course essential. All 
 this, however, should be so inwrought in the daily practice of 
 the high school pupil, as to be habitual and sub-conscious. To 
 him the all-absorbing consideration should be the interpretation 
 or the translation into pencil or pigment of a subject which 
 
NATURE DRAWING IN HIGH SCHOOLS 117 
 
 affords genuine delight. As often as possible the pupil should be 
 allowed to select his own medium, and given absolute liberty 
 as regards treatment. 
 
 Often there is nothing else that a teacher can do that will 
 help her class as much" as to sit down and work among them. 
 The inspiration that comes from watching another paint is some- 
 times worth more than any amount of correction or criticism. 
 Snap, spirit, directness of expression, crispness of treatment, 
 delicacy of feeling, sympathy, — these are contagious. They may 
 be caught when they cannot be taught. That which is a delight 
 to the doer is ever a delight to the beholder, and the eagerness 
 with which the work is watched, when the teacher who loves it 
 paints or draws among her class, is in itself so great that as she 
 works, she cannot help teaching. 
 
 in 
 
 JOHN RUSKIN tells us that "composition means, literally 
 and simply, putting several things together, so as to make 
 one thing out of them; the nature and goodness of which they 
 all have a share in producing." How simpft and yet how fun- 
 damentally true in all its applications, whether the composition 
 be a symphony, a poem, a novel, a drama, a cathedral, a statue 
 or a painting. Never better than in our study of composition 
 can we teach the unity of the arts and their dependence upon 
 common fundamental principles. 
 
 That the teaching of composition should be made as simple 
 as possible goes without saying. Perhaps we can do no better 
 than to hold to the two laws which Ruskin's definition suggests : 
 first, unity; and second, the interdependence of composite parts. 
 In any case we may safely subject whatever we teach to the test 
 of these two indispensable and coordinate principles. 
 
 A most suggestive method of presenting this subject is that 
 of working before the class, allowing the pupils, so far as possible, 
 to dictate the composition, step by step. Let us start with an 
 upright rectangle of ordinary proportions, which shall serve as 
 the inclosure which our composition is to fill. Our first con- 
 
ii8 NATURE DRAWING IN HIGH SCHOOLS 
 
 sideration must be the placing of the most important mass. We 
 know that the eye craves support for that to which it is attracted. 
 It travels to the upper part of the figure when we approach a 
 person on the street. It is drawn to the eyes when the face 
 alone is considered. It is best satisfied with the letters of the 
 alphabet when they are so proportioned that the center of 
 attraction is above the geometric center. It inevitably ascends 
 to and rests upon the upper part of the bell tower or the shaft 
 of granite. It looks to see pictures hung against the upper half 
 of the wall. Naturally then we decide to place the mass "a" 
 a little above the center of our space. 
 
 Shall we now give the mass a definite form and call our 
 picture finished? Preferably not. In the novel our interest 
 is with the heroine, yet we should tire of hearing of her and of 
 her alone. Additional characters must make the narrative 
 complete. Doubtless additional masses would improve our 
 composition. But if we add them what shall be their relationship 
 to the first? In the novel there is but one heroine, even though 
 there may be other characters. In the drama there is the one 
 leading part. In the symphony there is one theme though there 
 may be many variations upon it. Domination always implies 
 subordination. In our composition then, whatever else we add, 
 we will see to it that it is kept distinctly subordinate to our first 
 mass, in both size and position, lest the masses challenge each 
 other. We will strive to so relate the subordinate masses "b" 
 and "c" that the eye, having made occasional excursions to other 
 parts of the picture, will inevitably return to and rest contentedly 
 upon the dominant mass "a." Moreover, in deciding upon the 
 placing of the subordinate masses we will remember what experi- 
 ence has taught us regarding balance. 
 
 As yet we do not know the subject of our composition. 
 We may imagine "a" to be the foliage mass of a wide-spreading 
 oak, "b" a boulder, and "c" a cloud. Or "a" may be a witch 
 of Haarlem with her cap and crumpled ruff, "b" her hand and 
 stein, and "c" the owl. Or the whole may be a flower composi- 
 tion. For convenience, we will make it the latter. Of "a" 
 
NATURE DRAWING IN HIGH SCHOOLS 
 
 119 
 
 / — 7-\_^ 
 
 ff'E: 
 
 \fW. 
 
 \ ^._^V1 
 
 ,f^^ 
 
 H 
 
 B 
 
 9 
 
 -J3 
 
 a 
 
I20 NATURE DRAWING IN HIGH SCHOOLS 
 
 we will make a na:sturtium against one of its pad-like leaves; 
 "b" we will make another leaf, and "c" a bud. Now we shall 
 
 D 
 
 5028 
 
 need some stems. Nasturtiums are sometimes erratic in their 
 growth. We may then let the stems be represented by the lines 
 
A decorative arrangement from tbe chrysanthemum, hy a high school pupil. 
 
NATURE DRAWING IN HIGH SCHOOLS 121 
 
 in "B", and keep well within the range of possible growth. We 
 agree that the result of this and other like experimental arrange- 
 ments is disappointing. The only satisfactory placing of the 
 stems is one which brings them into such agreement with each 
 other and with the principal line of the inclosing space, that 
 the movement of the whole is unified. "C." 
 
 As we have worked we have recognized three important 
 considerations: first, domination; second, balance; and third, 
 consistency of movement. Perhaps in the beginning we need 
 mention no more. Underneath them lie Ruskin's two laws of 
 unity and interdependence. Many are the terms which we 
 might employ, but the fewer we teach the better. Variety, 
 contrast, distribution, repetition, gradation, radiation, opposition, 
 and all the rest may be explained by use of examples, but be 
 kept incidental. 
 
 It is not possible to achieve an3rthing of real value in com- 
 position until one knows the difference between a good line and 
 a bad one, between a beautiful form and an ugly one, between 
 a distinguished arrangement and one that is commonplace. 
 Sensitiveness to all of these things is developed through frequent 
 contact with the fine, and through practice. When the com- 
 position has been planned, blocked in, and criticised, it should 
 always be studied part by part with the purpose of bringing into 
 every line and shape that for which art exists, — Beauty (D). 
 The gentle flow of shape into shape, the cunningly arranged 
 continuation of line, the subtlety of beautiful proportions, — these 
 are things for which the teacher can suggest no rules, but sensi- 
 tiveness to them may be acquired, and not until it has been can 
 we hope for beautiful compositions. 
 
I 
 
 CHAPTER XV 
 ANALYTICAL STUDY OF PLANTS 
 
 (Translated from the, French) 
 
 N CREATING a decorative work the artist most often draws 
 Iiis inspiration from Nature; interpreting her forms and 
 translating them into his chosen medium of expression, — bronze, 
 enamel, the precious metals, wood, textiles. The interpretation 
 varies in each case ; since the character of a work should develop 
 largely from the logical use of material. But always and what- 
 ever may be the manner of interpretation, the material employed, 
 or the conception, the rendering must be preceded by a thorough 
 study of nature: that is, by the synthesis of an analysis. 
 
 We are not able to reproduce the forms of nature with all 
 their admirable qualities of logic, grace and strength. Therefore 
 our highest ambition should be, after having apprehended them 
 as fully as possible, to adapt them preserving all of their charms 
 that lend themselves to transmutation into the desired medium. 
 To attain even this result requires much effort. We must, as 
 we have said, apprehend the construction, the constitution of 
 the plant, not only that of its exterior forms, but also its internal 
 and hidden characteristics, for upon these latter the exterior 
 forms depend. But, it may be questioned, is not a good photo- 
 graph the best record of observations, the most faithful, the 
 most precise? It may be answered that photography can and 
 does render good service in this department of study, showing 
 us the actual plant as it appears in life, with its grace, its delicacy 
 or its strength; but in spite of its accuracy, however great that 
 may be, it cannot take the place of a record of observations. 
 Again, there are two kinds of records of artistic observation, 
 the picturesque and the analytical. Let us consider each. 
 
 We see a branch of eglantine, graceful in curve, elegant 
 in bearing, thickly starred with blossoms. Of this we make a 
 
ANALYTICAL STUDY OF PLANTS 
 
 123 
 
 sketch, a drawing, or a water-color, according to the time at 
 our disposal. The result is a picturesque record. This we 
 subsequently use ; either by copying it directly, or by modif3dng 
 
 it slightly; adding or suppressing a few blossoms, or yet again 
 changing the curve of a branch. But possessing only this pic- 
 turesque record, we are restricted. In spite of all efforts it 
 remains our original branch of eglantine. We are unable to 
 obtain from it a new motif, for the very reason that a picturesque 
 record does not and cannot afford us adequate information 
 regarding the vital structure of the plant. 
 
124 ANALYTICAL STUDY OF PLANTS 
 
 The analytical record of observation, it must be confessed", 
 is less attractive in appearance, and offers to the non-professional 
 person but an indifferent degree of interest. As its name indicates 
 it presents a complete analysis of the plant; it is a study of the 
 arrangement and constitution of the component elements, and 
 of the system of juxtaposition governing them. From this 
 explanation one might infer the anal3rtical method of study to be 
 difficult and complicated, but in reality it is very simple, as we 
 may learn by foUovsring its processes logically, that is, step by 
 step. First of all, we should consider the character and what 
 we may call the general bearing of the plant; for, from as great 
 a distance as we are able plainly to see it, we note the forms and 
 the other qualities which distinguish it from other natural species ; 
 we recognize its individual bearing and profile, the oak widely 
 differing in these respects from the beech, and the poppy from 
 the convolvulus. We note, therefore, the individual profile or 
 silhouette, and certain relations of mass which may be interesting 
 and important; for instance, the volume of florescence presented 
 by the lily relatively to its whole. It is needless to say that these 
 notes differ, according to the nature of the plant. Thus, the 
 lilac and the elderberry, as well as the horse-chestnut, permit 
 us to recognize in the massing, the system of grouping prevail- 
 ing in its manner of inflorescence, and this so perfectly that if 
 we thoroughly study the system, we can by means of simple 
 silhouettes give to the plant its special, individual character. 
 For example, we observe that the clusters of the lilac are massed 
 together, while, on the contrary, the floral pyramids of the horse- 
 chestnut occur in isolation. Again, the elderberry is starred 
 with white masses of bloom whose disposition upon the branch 
 differs greatly from the two preceding systems. 
 
 The first stage of our study is now complete. We have 
 rapidly observed the plant from a distance and seized its salient 
 characteristics. Now approaching it more closely, we begin 
 our analysis proper; studying the elements of the plant, and 
 the laws which govern their juxtaposition; finding each natural 
 family ruled by principles peculiar to it, which it must be our 
 
ANALYTICAL STUDY OF PLANTS 
 
 "5 
 
126 
 
 ANALYTICAL STUDY OF PLANTS 
 
 purpose to understand. We study in turn the various parts of 
 the plant, — the root, the stem, the leaves, the inflorescence, 
 the fruit; examining these details both in themselves and in 
 their reciprocal relations. We also follow the growth and 
 progress of the plant; as, for example, the successive transform- 
 
 ations of the horse-chestnut bud, which bursts and gradually 
 develops the leaves; providing thus the material for exquisite 
 floweret motifs. Again, from the architectural study of the 
 articulations and the insertions the trained eye receives structural 
 suggestions which may find direct application in goldsmithing, 
 in wood, and in iron, even in the building art. Then, advancing 
 a step farther, we discover by making cross sections of the stem, 
 of the fruit, of the blossom, or of parts of the latter, such as the 
 ovary, the closest secrets of the interior construction which are 
 abundant sources of manifold ornament. 
 
ANALYTICAL STUDY OF PLANTS 
 
 127 
 
 It is plain that the resources of this method are infinite, 
 and to be developed they need only the application of logical 
 study, A picturesque sketch will give further information as 
 to the attitude and bearing of the subject and the system of 
 grouping which it observes, while a water-color will provide 
 evidence regarding the principal color tones of the plant. At 
 the end of such an analysis we should be so intimately acquainted 
 
 with our subject as to be able to reproduce it from memory, 
 unaided by the studies thus multiplied, which 'will serve to supply 
 elusive details. We shall possess then perfect freedom in com- 
 position, together with great fertility of invention, and pliancy 
 of imagination, enabling us to construct our own design accord- 
 ing to our fancy but in a rational manner, upon the solid basis 
 of the constitution of the plant itself, differing thus radically 
 from the artist who is condemned endlessly to copy his pictur- 
 esque study. 
 
 It may be objected that the processes just described are 
 long, while the time at the disposal of artists is short, necessarily; 
 that, for this reason, taken often unawares, designers are happy 
 
128 ANALYTICAL STUDY OF PLANTS 
 
 to find notes capable of supplying the place of studies which they 
 have not been able to make, or cannot at the moment produce, 
 either for want of time or because the season is unfavorable 
 As a principle it may be stated that no study is comparable in 
 value to an original one; that nothing can be substituted for 
 indications gathered from the scrutiny and the careful analysis 
 of nature. 
 
 The Plates illustrate the methods of study which we advocate. 
 The designer, if he folfbw the indications therein given, will 
 accumulate an artistic capital from which he may draw accurate 
 knowledge of nature in winter time or in isolation. 
 
Rendering in water color of a spray of grape. By Percy D. Spaulding, 
 Grade VIII, North Scituate, Massac|tusetts. 
 
CHAPTER XVI 
 
 PLANT DRAWING BY CHILDREN 
 
 ONE secret of securing good results in teach- 
 ing children to draw from plants is in the 
 choice of paper. If the flowers or the seed vessels 
 of a plant are white, a rather dark toned paper 
 will give a background against which the light 
 elements and the dark elements will show equally 
 well, as shown at C — Chinese white mixed with 
 the colors will give light, opaque tones. If the 
 flower masses are a very light and brilliant color, 
 as for example, in the golden-rod, gray is not a 
 good background. The drawing is more likely to 
 come out well on a white or cream-white ground, 
 as suggested at D. The original of this drawing 
 was practically a silhouette of green, with touches 
 of yellow to suggest the flower. 
 
 The sheets reproduced on page 130 show two 
 treatments of the drawing with reference to its 
 background. In the first the whole rectangle is 
 considered as the background. This is allow- 
 able when the object is rather attenuated, spread 
 abroad, erratic in growth, and when the whole 
 must be shown. In the second, E, the inner 
 rectangle is considered as the background and 
 the lighter portion beyond it as the mount of the 
 picture. In such a case the drawing may more 
 solidly fill the background. A drawing in which 
 the coloring is too light or too dark, or off color 
 a little, may be made to appear more nearly cor- 
 rect through the careful selection of the mount. 
 A dark mount makes a drawing look lighter; a light mount 
 
130 
 
 PLANT DRAWING BY CHILDREN 
 
 makes a drawing look darker. A mount having a positive 
 hue, "as green or brown, tends to strengthen the effect of the 
 complementary color in the drawing. As a rule the mount 
 
 / 
 
 if* 
 
 -Water color drawing from the bloodroot 
 by Isabelle Woods, V, 
 Groton, 
 
 Brush drawing, yellow lily, by Barbara 
 
 Walker, II, Normal Model School, 
 
 Fitchburg, Mass. 
 
 should harmonize with the drawing, that is, echo in some way 
 a prominent color of the drawing. 
 
 On page 131 are reproductions of two upper grade drawings. 
 The first, without a mount, is an admirable brush drawing from 
 a tulip. The handling is direct, full of life, and reflects close 
 observation. The sheet has been ^ trimmed a little too closely 
 
PLANT DRAWING BY CHILDREN 
 
 131 
 
 G — By Hilda Dealing, VI, Braintree, Mass. 
 
 — By Hazel Spooner, VIII. 
 
 Southampton, 
 
 Mass. 
 
132 
 
 PLANT DRAWING BY CHILDREN 
 
 Decorative silhouette. A spray of barberry by a ninth grade pupil, Newton, Mass. 
 
 on the left side; otherwise the arrangement is good. In the 
 second drawing, the arrangement within the rectangle is as good 
 as children can be expected to make. The echo of the dark tone 
 of the plant in the mount adds to the harmony of the whole 
 by distributing the darks throughout. The tone of the flowers 
 was produced by removing a portion of the background with 
 a knife or rubber. 
 
 The drawing of the spray of barberries, by a ninth grade 
 pupil, was achieved with a brush and common writing ink. It 
 evinces close study of the original, a judicious use of the white 
 line to indicate veins (after the manner of the Japanese), and a 
 
 Decorative panels from leaves. By ^ammar grade pupils. New York City. 
 
PLANT DRAWING BY CHILDREN 
 
 133 
 
 2lW 
 
 \ 
 
 A — Sprouting corn. Brush 
 
 drawing by Master Walter 
 
 Perrault, I, residence 
 
 not given. 
 
 L — Pencil drawing of wild 
 
 carrot by Elizabeth Ker- 
 
 win, VIII, Woon- 
 
 socket, R. I. 
 
134 PLANT DRAWING BY CHILDREN 
 
 skilful balance of masses within the oblong. The main line of 
 the stem has a fine vigorous curve, and is well placed. 
 
 The three panels with leaves were made by grammar school 
 pupils in New York City. They show a thoughtful relation of 
 stem line to inclosing form, curved in the circle, angular in the 
 rectangles. The masses in each case are well disposed with 
 reference to the vertical axis. The treatment is more pictorial 
 than in the previous plate. The little artists have been influenced 
 by the light and shade of the original sprays. 
 
 The smaller drawing on page 133 shows an ideal directness 
 in handling. Every stroke is evident, every one counts ; no 
 correcting or overlaying of color detracts from the crisp fresh- 
 ness of the effect. The larger drawing in pencil is no less direct 
 and forceful. Not only is the growth well interpreted, but the 
 colors of the original are suggested by the careful rendering of 
 the lights and darks. 
 
 The drawings reproduced on page' 135 were made by upper 
 grade pupils. They exhibit unusual skill in selecting the speci- 
 men, in placing it within the rectangle, and in rendering the 
 parts to give unity of effect. Tn the twig of red maple, J, the 
 vigorous upward and outward movement of life in the spring 
 is admirably suggested; in the sumach, the stress of the fall 
 weather, the effect of frost and wind on a still vigorous spray, 
 is no less admirably shown. The originals exhibited good har- 
 monies of color ; the one bright and fresh in hue, the other deep 
 and rich. 
 
 The four panels on page 136, show four arrangements of 
 the same spray. That in the circle was made by George Sauter, 
 Turners Falls, Mass. The others were discovered within it by 
 means of the L finders, as described in Chapter XIII. 
 
 The plates on page 137 show an excellent pencil drawing 
 of a fruit spray, and its interpretation as a decorative arrangement, 
 by William Valgren, VIII, Fitchburg, Mass. Better work than 
 this can hardly be expected from pupils in the grammar school. 
 
 The drawing reproduced on page 138, a spray of milkweed, 
 was made by a pupil in the Salem Normal School. The original 
 
PLANT DRAWING BY CHILDREN 
 
 135 
 
 ' yr- 
 
 X' 
 
 \J\ 
 
 J — Maple spray. By E. P., VII, 
 
 Orange, Mass. 
 
 H — Sumacli spray. By Grace Wheeler, 
 
 VIII, Braintree, Mass. 
 
136 
 
 PLANT DRAWING BY CHILDREN 
 
 
 Decorative arrangement of a spray of oak. By George Sauter, VIII, Turners Falls, 
 Mass. Three other panels from the same spray. 
 
PLANT DRAWING BY CHILDREN 
 
 137 
 
138 
 
 PLANT DRAWING BY CHILDREN 
 
PLANT DRAWING BY CHILDREN 
 
 139 
 
140 PLANT DRAWING BY CHILDREN 
 
 was in water color. It shows careful study of the anatomy of 
 the plant, good judgment in composition, and skill in handling. 
 The autumn feeling is certainly reflected in this drawing, unusually 
 successful in its suggested light and shade. 
 
 The bough of the peach tree on page 139 is also by a pupil 
 in the Salem Normal School. How well the autumn burden 
 is suggested ! One feels the droop of the leaves and the weight 
 of the fruit. The handling of the water color is worth careful 
 study. Each touch is individual, definite, graded throughout 
 (while wet), and all are in such relation to one another that the 
 whole is a unit. 
 
 The color plate from the grape, opposite page 128, reproduces 
 in fac-simile a drawing by Percy Day Spaulding, VIII, North 
 Scituate, Mass. As a water color drawing directly from the 
 object it is admirable from every point of view. The arrange- 
 ment within the rectangle would have been more pleasing had 
 the center of interest been somewhat higher. 
 
 The color plate at page 140, reproduces a decorative arrange- 
 ment from a quince spray by David Gwillow, IX, Westfield, 
 Mass. It shows what the art critics describe as "feeling" and 
 "tone." In other words, all its colors have a certain warm hue 
 in common, the yellow of the fruit, the brown of the stem, the 
 light and dark green of the dry leaves, are all affected by the 
 same hue, neither orange nor pink but a combination of both. 
 The result is a piece of decorative coloring, unusually good, 
 considering the age of the pupil. 
 
 In decorative coloring all the tones participate in some 
 common quality without losing their individuality of color. 
 The Chavannes decorations in the staircase hall of the Boston 
 Public Library are supreme examples. In these grass is green 
 and skies are blue, rocks are brown or gray and temples and 
 clouds are white, but nevertheless all the panels are blue-violet 
 in hue, in perfect complementary contrast with the Siena marble 
 of the walls. 
 
Decorative arrangement from the quince. By David Gwiliow, 
 Grade IX, Wakefield, Mass 
 
CHAPTER XVn 
 INTERPRETIVE PLANT DRAWING 
 
 EVEN the simplest plant is so complex in its elements of 
 beauty, that not all can be expressed in any one medium 
 at any one time. Selection is necessary and desirable. In the 
 teaching of children the fewest possible number of elements 
 should be studied in the beginning, and these should be expressed 
 in the simplest possible way. 
 
 The essentials of form can best be expressed in silhouette. 
 Figure i shows what the essentials are in a spray of oat grass, 
 and how simply they may be represented with the brush. Fig- 
 ure 2 shows the completed drawing well placed within a rect- 
 angle. The same method has been kept in mind in the drawing 
 of the spray of bayberry, page 143. Notice particularly the 
 articulation of part to part, and the sure rendering of foreshortened 
 parts. 
 
 Silhouettes need not necessarily be in black on a white 
 ground. An outdoor effect may be suggested by using a back- 
 ground of green or blue or violet; an indoor effect by using a 
 red, an orange, or a yellow ground. The silhouette may be 
 drawn in color ^ — a color characteristic of the subject, or a con- 
 ventional color. The Plate opposite page 142 is from a drawing 
 made before a class as an illustration of the color possibilities 
 of the silhouette, by Ernest A. Batchelder. 
 
 Logically, the next step is the interpretation of the plant 
 in two flat tones. This is undoubtedly the best method for first 
 work representing the perspective effects presented by foreshort- 
 ened leaves arid flowers. The drawings on page 144 show the 
 use of two tones, one for the upper side of the leaf and one for 
 the under side. These are brush drawings by Walter Sargent. 
 
 Two or more flat tones are often effective in the rendering 
 of a spray decoratively. In such cases the tones should be care- 
 
142 
 
 INTERPRETIVE PLANT DRAWING 
 
 2287 
 
 Oat grass. Silhouettes by Walter Sargent. 
 
 fully adjusted in relation to each other. The grape panel is 
 an illustration of this use of flat tones. It is a wash drawing 
 by Henry T. Bailey. 
 
 For provoking close observation, for recording the facts 
 of structure, and the delicate freshness of the living plant, no 
 medium is superior to the lead pencil. The three Plates which 
 
A decorative arrangement from the chrys^ithenium. 
 By Ernest A. Batchelder. 
 
INTERPRETIVE PLANT DRAWING 
 
 143 
 
 Bayberry. A silhouette by James Hall. 
 
 A spray of grape. A decorative arrangement in related values. By Henry T. Bailey, 
 
144 
 
 INTERPRETIVE PLANT DRAWING 
 
 A- 
 
 \ 
 
 ^ 
 
 V 
 
INTERPRETIVE PLANT DRAWING 
 
 145 
 
 Common leaves. Pencil drawings by Walter Sargent. 
 
146 
 
 INTERPRETIVE PLANT DRAWING 
 
 Common flowers. Pencil drawings by Walter Sargent. 
 
INTERPRETIVE PLANT DRAWING 
 
 147 
 
 <. 
 
 
148 
 
 INTERPRETIVE PLANT DRAWING 
 
 False hellebore shoot. A pencil drawing with a wash of color. 
 By Henry T. Bailey. 
 
INTERPRETIVE PLANT DRAWING 
 
 149 
 
 A stalk of milkweed. Outline drawing with a wash of color. 
 By James Hall. 
 
ISO 
 
 INTERPRETIVE PLANT DRAWING 
 
 ' iVed Clover 
 
 TV I folium pr«xlei) 
 
 '?^-%,, \ 
 
 
 ' J. 
 
 «.. **" 
 
 :ih 
 
 T^.. 
 
 w 
 
 
 i:^ 
 
 
 An aaalytical study of red clover. In outline and wash. 
 By Henry T. Bailey. 
 
INTERPRETIVE PLANT DRAWING 
 
 151 
 
 Dandelioh. 
 
 CoH«S5ETa-l-'0^. 
 
 Analytical study of the dandelion. Pen drawings by James R. Glenn. 
 
1 52 
 
 INTERPRETIVE PLANT DRAWING 
 
INTERPRETIVE PLANT DRAWING 
 
 15.3 
 
IS4 
 
 INTERPRETIVE PLANT DRAWING 
 
 I CleHird 
 
 follow show leaves and flowers of various 
 kinds, admirably rendered in pencil by Walter 
 Sargent. Notice the variety in the line, and 
 how it is used to express varieties of sub- 
 stance in the objects. 
 
 After a form has been carefully rendered 
 in pencil, a wash of color is sometimes de- 
 sirable to suggest an added truth of relative 
 values or of light and shade. Such drawings 
 are shown on pages 148 and 149. The helle- 
 bore was drawn as a record of the amazing 
 assemblage of vigorous curves the early 
 shoots of this athletic savage of the woods 
 offers to the eye. The wash of color was 
 added to emphasize the effect of reenforced 
 solidity which the plant has as a result of 
 the crowding together of its plaited leaves. 
 
 The milkweed was drawn to express in 
 the simplest possible way, the sturdy growth 
 of the plant, as it appears in the fall, having 
 survived the ravages of the summer. It is 
 a veritable tower of strength in the plant 
 world; and this character is well expressed 
 in the drawing. 
 
 In the analytical study of a plant the 
 medium used should depend upon the parts 
 to be represented. But here, again, there is 
 no more widely useful medium than the lead 
 pencil. The drawings from the red clover 
 are for the most part in pencil. That which shows the sweep 
 of growth in the whole plant is done with the brush. Wash 
 has been added to the pencil studies in several cases, to record 
 more easily changes in color which may be suggestive to the 
 designer. 
 
 . After some degree of skill has been attained, and drawings 
 can be made- with assurance, the pen is a good medium. With 
 
 7f3 
 
 MarniiH 
 
 Cardinal urioi 
 
INTERPRETIVE PLANT DRAWING 
 
 155 
 
 An apple. Drawn with brush outline. By a Japanese artist. 
 
 it the minutest details of structure may be recorded. The Plate 
 on page 151 contains pen drawings by James R. Glenn to meet 
 the requirements in a class in design under Dr. James P. Haney. 
 Another study of the dandelion is shown on page 152. Pen 
 drawings by R. James Williams of England. Another example 
 of the good work of this man is shown on page 153, a drawing 
 from the cowslip or marsh marigold. Notice the effective use of 
 lines of varying thickness, and the very sparing use of light and 
 shade. 
 
 The pen is especially valuable in the rendering of such details 
 as buds and seed pods, parts exhibiting sharp, refined contours, 
 and delicate but significant modelings of surfaces, such as may 
 be seen in the drawings reproduced on page 154. Pen drawings 
 of seed packs, by Henry T. Bailey. 
 
iS6 
 
 INTERPRETIVE PLANT DRAWING 
 
 A spray of grape. Drawa in wash with a strong brush outline. By a Japanese artist. 
 
 The brush is an implement with great possibilities, especially 
 in the hands of a master. It will produce the utmost of variety 
 in a single outline, in the hands of a Japanese artist, as the 
 drawing on page 155 suggests. When a drawing requires a 
 strong outline to bind all its parts together and to give a decora- 
 tive character to the whole, the brush outline is perhaps the 
 best possible. As an example of such treatment see the illus- 
 tration above. This illustration and the previous one were 
 taken from Japanese drawing books, handled in this country by 
 Bunkio Matsuki of Boston. 
 
 The other Japanese Plates (pages 157 and 158) are 
 examples of that perfection of technique, that precision of 
 composition, — absolutely adjusted in its diverse attractions, 
 and in its space relations, yet apparently perfectly free, — and 
 
INTERPRETIVE PLANT DRAWING 
 
 IS7 
 
 Jack-in-the-pulpit. A brush drawing in two conventional values. 
 By a Japanese artist. 
 
158 
 
 INTERPRETIVE PLANT DRAWING 
 
 Wistaria spray and finch. A brush drawing in several values. 
 By a Japanese artist. 
 
INTERPRETIVE PLANT DRAWING 
 
 159 
 
 Examples of good decorative arrangement. 
 
i6o 
 
 INTERPRETIVE PLANT DRAWING 
 
 APPLES 
 
 : 4 .J ''■ ? £' ■ 
 
 QrwmieniCB 
 &;Bmple&taketinHl 
 
 Examples of good decorative arrangement. 
 
INTERPRETIVE PLANT DRAWINQ i6i 
 
 that charm of effect of life, for which Japanese art is justly 
 famous. 
 
 The Plates on pages 159 and 160 show good decorative 
 arrangements from plant forms, in various styles of treatment. 
 These were brought together from three sets of drawing books. 
 The Prang Textbooks of Art Education, the Parallel Course 
 Drawing Books, and the Applied Arts Drawing Books. They 
 show many happy compositions of line and of notan. 
 
 The final Plate is a fac-simile reproduction of a drawing in 
 pencil and water color by James Hall. It shows the ideal towards 
 which instruction in Nature Drawing should tend from first to 
 last, — a drawing which interprets as fully as possible the vital 
 character of the beautiful original. 
 
So fair, so sweet, withal so sensitive, 
 
 Would that the little Flowers were born to live. 
 
 Conscious of half the pleasure which they give ; 
 
 That to the mountain-daisy's self were known 
 The beauty of its star-shaped shadow, thrown 
 On the smooth surface of this naked stone ! 
 
 And what if hence a bold desire should mount 
 High as the Sun, that he could take account 
 Of all that issues from his glorious fount ! 
 
 So might he ken how by his sovereign aid 
 These delicate companionships are made ; 
 And how he rules the pomp of light and shade ; 
 
 And were the Sister-power that shines by night 
 
 So privileged, what a countenance of delight 
 
 Would through the clouds break forth on human sight ! 
 
 Fond fancies! wheresoe'er shall turn thine eye 
 On earth, air, ocean, or the starry sky, 
 • Converse with Nature in pure sympathy; 
 
 All vain desires, all lawless wishes quelled. 
 Be thou to love and praise alike impelled 
 Whatever boon is granted or withheld. 
 
 — Wordsworth 
 
INDEX 
 
 To chief topics, and the common plants described or illustrated 
 
 Adjustable frame, loo 
 
 Alder, 72, 73 
 
 Analytical study of plants, 122 
 
 Apple, 31, 52, 90, 92, 139, 15s 
 
 Ash buds, 39 
 
 Barberry, 132 
 
 Bayberry, 143 
 
 Beech, bud, 39 ; old tree, 53 
 
 Beggar-tick, 36 
 
 Birch, white, 85 
 
 Blackberry, swamp, 25 
 
 Bloodroot, 130 
 
 Blue prints of leaves, 41 
 
 Buds, 56, 57 
 
 Burr marigold, 36 
 
 Canna, 113 
 
 Carrot, wild, 131, 133 
 
 Catbriar, 99, etc. 
 
 Cat-tail, 115 
 
 Cherry, 57, 82, 83 ; wild, 137 ; buds, 56 
 
 Chrysanthemum, 112, 121, 143 
 
 Clover, frontispiece, 25, 92, 150 
 
 Corn, sprouting, 133 
 
 Cosmos, 114 
 
 Cover designs, 95, 96 
 
 Cowslip, 153 
 
 Crocus, 68, 161 
 
 Dandelion, 151, 152 
 
 Decorative arrangement, 89, 98; ex- 
 amples of good decorative arrange- 
 ment, 89, etc., 159, 160 
 
 Eglantine, 123 , 
 
 Evening primrose (old growth), 63 
 
 Fall nature drawing, 22, 27 
 
 False hellebore, 148 
 
 False spikenard, 31 
 Ferns, 62, 64 
 Fleur-de-lis, 91, 96 
 Foreshortening of flowers, 49 
 Foreshortening of leaves, 30, 47, 48, 
 
 50, 80, 144 
 Frame, use of an adjustable, 100 
 Frame of a picture, 86 
 Golden-rod, 25, 129 
 Grape, 129, 143, 156 
 Grasses, 28, 61, 107, 142 
 Growth of seeds, 58, 59 
 Huckleberry, 34 
 Hobble bush, buds, 39 
 Horse-chestnut, 57, 58; buds, 56, 125 
 Hyacinth, 67, 71 
 
 Horse-chestnut, 57, 58; buds, 56, 125 
 Interpretative plant drawing, 141 
 Jack-in-the-pulpit, 157 
 Japanese drawing; grasshopper and 
 
 grass, 107 ; jonquil, sections of bulb, 
 
 71 ; lily, 87 
 Jonquil, 71 
 Leaf study, 40 
 Leaves, 143, 147 
 Lilac leaf, 48 
 
 Lily, Japanese drawing, 87 ; yellow, 130 
 Maple keys, 94 
 
 Maple, seedling, 59; spray, 135 
 Milkweed, 38, 138, 149 
 Mistletoe, 127 
 Morning glory, 146 
 Nasturtium, 119, 120 
 Nature drawing, 11 
 Nature drawing and composition, 78 
 
164 
 
 INDEX 
 
 Nature drawing in high schools, 108 
 
 Oak, swamp, 54; spray, 136 
 
 Oat grass, 142 
 
 Passion flower, 126 
 
 Perspective of leaf and flower, 46 
 
 Pink, wild, 93 
 
 Pitchforks, 36 
 
 Poplar, 52, 74, 75 
 
 Poppy, 95 
 
 Queen Anne's Lace (see Carrot) 
 
 Quince spray, 140 
 
 Rose, 20 
 
 Seed packs, 154 
 
 Shad-bush, 39 
 
 Silhouettes of leaves, 41 
 
 Sketches of trees, 52-55 
 
 Skunk cabbage, 60 
 
 Spring nature drawing, 51, 66 
 
 Squash, seedling, 59 
 
 Strawberry (old growth), 64; wild, 62 
 
 Sumach, 135 
 
 Trees, sketches of, 52-55 
 
 Trout lily, 58 
 
 Tulip, 67, 131 
 
 Voilet, dog-tooth (see Trout lily) 
 
 Willow, 55, 75. 76 
 
 Wistaria, 158 
 
 Witch grass, 61 
 
 Woodbine, 20, 90 
 
 Yarrow (old growth), 63