href="@public@vhost@g@gutenberg@html@files@46445@[email protected]#Footnote_B_2" class="fnanchor pginternal" tag="{http://www.w3.org/1999/xhtml}a">[B]

Perhaps it would not be amiss to indicate just how this unofficial study may be promoted, and to name the resources of the parent for the purpose. First of all, nine children out of ten will definitely choose a hobby or recreation or indicate some preference, as photography, animal pets, woodwork, electricity, drawing, sport, one or more of the domestic arts, collecting coins, stamps, etc.; there are as many tastes as children. The child may get his suggestion from the school or companions. Any legitimate taste should be actively encouraged and supplemented by books which really explain and by tools and materials with which to use the books. If it is a shop he wants, try to give him the use of some corner for the specific purpose so that the occupation may be dignified according to its juvenile worth. Second, endeavor to emphasize the economic and social significance of the work done and urge right along some definite aim. If a boy wants a shop, or pets, see that they are kept in condition, attended to, and if possible give some measure of tangible return on the outlay of money and energy. Third, connect the boy's or girl's chosen avocation with real living in every possible manner. Girls are rather fond of those decorative arts which contribute to artistic pleasure, and should they make experiments with stenciling, block-printing, and the like, have them use them also in embellishing their own rooms, the summer camp or club. Fourth, make the child feel that a given hobby is not to be satisfied for the mere asking. Put some limit on the money expenditure until it is clear that the interest is genuine and honest, and that the child is either producing results which are sincere, or acquiring real knowledge. Fifth and last, but perhaps most important of all, support the school in its effort to solve the problem of formal education, because the heavy burden rests there. It is quite essential that the home give the boy and girl every possible chance to develop along original and specific lines at their own pace, to experiment with the world's activities in miniature, and establish the probable trend of individual effort for the future. But this can only supplement and point the way for the formal training which the institution (school) gives. The school, being democratic and dependent upon the general public for existence, takes its cue therefrom, and creating ideals in consonance with public needs perfects the method of reaching them. When father and mother believe in a vigorous, efficient education, rooted deeply in the child's fundamental attitude toward the world and its affairs, then will the public approve and urge the proper kind of organized training. Even so, the school cannot really educate the child—he educates himself through the agents aforementioned—it simply organizes information and gives the pupil access to methods of using facts and ideas.

In closing this chapter there is one more word to be said concerning the main theme. The arts and crafts[C] of expression and construction fulfil that precise function in the child's preliminary training which they did in the early history of the race. They indicate just that degree of manual skill and constructive ability of which both the youthful individual and the young race are capable; they serve as indices and guides to the development of design, taste and constructive thinking. As the child matures he may elevate a given craft to an art or science, but the early familiarity, the simple processes, he should have, because they are essential to childhood. Hence, the large amount of handwork in the kindergarten and primary school; it is the necessary complement to academic work and balances the educational diet.

CHAPTER II

THE CULTIVATION OF TASTE AND DESIGN

It will be evident to the thinking man or woman that art or any phase of it is not to be taught successfully as a profession through books. The very most that one can expect from reading is a knowledge about art matters and acquaintance with the conventions and rules which obtain therein. But even this slight result may be the precursor of a fuller, more intimate familiarity with the principles of good taste and design.

One may be able to say "that is a beautiful room" or "a fine garden" or "a charming gown" and yet be unable to produce any such things. How is it possible then to know if one cannot do? The answer is that, potentially, every individual who really sees and appreciates beauty can produce it through some form of artistic expression; the power to execute and the power of invention are merely undeveloped. And as for the artist or craftsman who can make beautiful things, but who cannot explain how he does it—he is unique, like the mathematical genius; he just sees the answer; it is a gift. Though there are born in every generation a few with the divine spark of genius, the mass of men and women has always learned by effort. In other words, it has been possible to teach the subjects which were found necessary to culture and education; it is quite possible to present the ordinary phases of art to the lay mind in such a way, even through books, that one may have worthy ideals, and a healthy point of view. The present chapter will be devoted to showing how books such as these[D] for boys and girls can contribute to the development of taste.

Frankly, taste has much less to do with fine art than with the arrangement and choice of the ordinary externals of living. Of course fine art does in the last analysis pass judgment upon form, color and design in clothes, furnishings and architecture, but the common home variety of taste is derived directly from custom, comfort, and convention, not from art at all. Only in the later stages of refinement does the lay mind succumb to direct supervision by art. On the other hand, all conventions and ideals are the result or sum total of general experience, in which art has played its part, and has left some impress on the individual, giving rise to belief in a few principles so common as to be accepted by all. Principles of this kind are not always serviceable or effective, because they are not stated in precise language, and cannot therefore become standard. In truth, so far as design is concerned, there are very few absolute rules for guidance, and a book like "Home Decoration" cannot tell the child or parent how to make a beautiful, inspiring home. Its mission is to create the desire for fine surroundings, to suggest ways and means for studying design, especially those phases of decoration associated with the crafts, and above all such a book invites and helps to maintain a receptive attitude of mind toward artistic matters. In the effort to produce work of merit, one becomes critical, and seeks reasons and precedents for judgment. This is the beginning of design study: and the fact that one has real interest in taste is indicative of the desire of the cultured mind for ideals. If a child is allowed to grow up in the "I know what I like" atmosphere, without reasonable contact with choice things, and without the necessity for