1; and there were 2 from Nova Scotia. The whole number of students connected with the school since its opening in September, 1854, is 4,399.

2. The number of students admitted to the school during the year was 107, of whom 99 were members of the junior class. Of these, 8 had had previous experience in teaching. The average age of the new students at the beginning of the school year in September, 1898, was 19 years, 2.9 months. Of the number admitted, Salem sent 9; Somerville, 8; Melrose, 7; Lynn, 6; Cambridge, 5; Everett and Beverly, 4 each; Amesbury, Chelsea, Gloucester, Haverhill, Malden, Marblehead, North Reading, Peabody and Revere, 3 each; Georgetown, Groveland, Ipswich, Manchester and Medford, 2 each; and Boston, Bradford, Belmont, Cheshire, Danvers, Marion, Merrimac, Nahant, Newburyport, Lynnfield, North Andover, Salisbury, Scituate, Stoneham, Swampscott, Wakefield, Ware and West Newbury, 1 each. There were 5 from New Hampshire and 4 from Maine.

3. The occupations of the fathers of the new students were as follows: mechanics, 26; merchants and traders, 15; farmers, 15; manufacturers, 8; overseers, 5; civil engineers, 3; public officials, 3; laborers, 2; teamsters, clergymen, physicians and printers, 1 each; unknown, 5.

4. The number graduated from the two years' course, June 21, 1899, was 55; and from the advanced course, 2. Certificates for one year's special course were also awarded to 2 students. The total number of graduates from the two years' course, in eighty-five classes, is 2,280; and from the advanced course, 130.

ELMER H. CAPEN,
GEORGE I. ALDRICH,
Board of Visitors.

STATE NORMAL ART SCHOOL, BOSTON.

GEORGE H. BARTLETT, PRINCIPAL.

INSTRUCTORS.

GEORGE H. BARTLETT, lecturer on historic ornament and the principles of design, instructor in blackboard drawing; ALBERT H. MUNSELL, EDWARD W. D. HAMILTON and ERNEST L. MAJOR, drawing and painting from the antique figure and life model, composition, artistic anatomy; MERCY A. BAILEY, light and shade drawing from animal form, water-color painting from still-life; ANSON K. CROSS, free-hand drawing, light and shade, perspective, model drawing theory; RICHARD ANDREW, free-hand drawing, light and shade, perspective; VESPer L. GEORGE, light and shade drawing, design; George Jepson, descriptive geometry, mechanical drawing, shop work; CYRUS E. Dallin, modeling from antique and life, composition; ANNIE E BLAKE, modeling and casting, design in the round; HARRY J. CARLSON, building construction, architectural drawing, design; M. LOUISE FIELD and WILHELMINA N. Dranga, drawing in the public schools; JOHN L. FRISBEE, ship draughting; ELIZABETH J. HINCKLEY, curator.

Since the last annual report, the annex, which is proving more and more its adaptability to the purposes of the school, has been equipped with the necessary furniture. Its walls have been painted and its ceilings tinted, its large lecture hall being especially pleasing to the eye, by reason of its soft, harmonious green coloring. Its corridors, as well as those of the old building, have been painted in a subdued stone color, chosen with reference to making dark passages light, and as a neutral background for pictures and casts. All this work was satisfactorily and promptly done by Mr. George Hughes of Cambridge. The plumbing of the old part has been materially changed by T. Costello & Co. of Lowell, to the great advantage of the health of the school.

Five large cases, furnished by the Judkins Showcase Company, Boston, have been placed in the lower hall, to serve as a nucleus for a museum of various examples of applied art, from

which specimens can be taken, and carried into the class room to serve as illustrations of the subjects there studied. also hoped that many manufacturing firms will loan to the school from time to time, in the interests of art education, examples of applied art, since the exhibits in the hall are intended to serve for the use of superintendents and teachers of drawing in the State, as well as for the immediate benefit of the normal art pupils. Now that the building is completed, we are enabled to put forth our utmost capacities in helping to develop the many applications of art, to enrich the teacher's vocation and to be one of the chief factors in stimulating a pure and healthful recognition of art throughout the State.

The faculty has been increased by engaging Mr. Vesper L. George four days each week, as teacher of design and of light and shade drawing; and Mr. Richard Andrew, as teacher in Class A each school day. Already have the beneficial results of this increased and detailed supervision been seen in the general discipline and tone of the school. The sculptor, Cyrus E. Dallin, also gives two half days as teacher of modeling from life.

The public school class is under the joint care of Miss Field, Miss Dranga and Mr. George, while Mr. Bartlett is instructing the class how to demonstrate on the blackboard every kind of subject the pupils may have to teach, which of necessity includes insect, bird, animal and human form. No pupil can to-day be considered as well equipped for the profession of teaching unless he is able to render freely and rapidly on the blackboard the thoughts he wishes to arouse in the minds of his pupils; to express action on a flat surface; to catch the fleeting moods of a child; and to develop balance of parts in a composition. To the end also of realizing the beauty and logic of form, even in kindergarten clay objects, the pupils of the public school class are now obliged to give a certain number of hours each week to modeling in clay, under the direction of Miss Blake. Surely it is for a normal art school to impress upon its graduates the need for a comprehension, at least, of an all-round art education, and to try to give them such proficiency in this education as shall enable them to become leaders, each one in the place where he works or teaches. It is the

spirit and meaning of art that we are endeavoring to make part of the very nature of a teacher of drawing.

We are confronted, however, with the problem, more plainly than are other normal schools, of how far to commend for the position of teacher the fitness of a pupil who has passed her examinations and handed in her "sheets" according to the minimum requirements. Technically, she has fulfilled the demands made upon her; artistically, she has not proved her serviceableness. To correct faultlessly the rendering of a group of models when in her turn she has become teacher; to talk well about historic schools of painting; to draw fairly from casts, or to work agreeably in color, whatever may be the medium, is neither high nor broad art nor noble teaching, which should include the unranked factor of personal fitness. A past record, as graduate, of tests of merit faithfully fulfilled does not atone for the lack of the spirit of idealism and of beauty, by which the sternest aspects of industrial art and the wearyingly minute phases of the art teacher's profession can be enriched. In guaranteeing equal opportunity to all and in constantly raising the standard of excellence, the State is doing her utmost to receive equal service of the highest order from all her pupils.

It is a matter of regret that more young men do not become instructors of drawing. Doubtless the salaries received by those following one or another of the opportunities offered by industrial art are more remunerative than a teacher's income; but in not one of those pursuits is there a wider opportunity for personal fame or for patriotic service. Many of the young women teachers and superintendents are of exceptional ability, but, if co-education is valuable in the moral influence it exerts over pupils, the co-teaching of men and women is stimulating to the educational art forces of the State.

The spirit of art throughout the State was ennobled by the exhibit of drawing held in Copley Hall, Boston, September 26October 2. The various tendencies in art education were there plainly, perhaps unconsciously, set forth, and on the whole were very gratifying. The exhibit of the Normal Art School was in a smaller hall by itself, adjoining Copley Hall, the examples of work in the public school class ranging from the

kindergarten to the high school. A large case of plaster casts from the antique and from life showed also fine examples of original design. The mechanical, constructive and architectural exhibits contrasted excellently with the work in charcoal, in oil and water color from still life, nature and the human figure. The principal of the school was one of the committee of arrangements, and to him, with his associates, were due the admirable arrangements of spacing, hanging and cataloguing. During the time of the exhibition a public conference of teachers, artists and friends was held at the hall of the school, the frankness and fairness of speech there expressed being most helpful.

Several lectures were given in the course of the year at the school: Dr. Thomas M. Balliet, superintendent of schools at Springfield, giving four on "The Relation of Art to Psychology;" Dr. A. H. Tuttle of Cambridge spoke on the "Value of Drawing from a Surgeon's Standpoint." Mr. Joseph Stuart, head of the designing department of the Cocheco Print Works, lectured on "The Textile Industries," and Miss Irene Weir, supervisor of drawing in Brookline, lectured on "Drawing and Child Life," each speaker fully illustrating his or her subject. Mr. Frederick T. Hopkins, Supervisor of Drawing in the Boston Public Schools, gave six lectures to the public school class in regard to their future work; and Mr. Frederic P. Vinton, by invitation of the Massachusetts Normal Art School Alumni Association, spoke to its members and also to the school on the "Life and Works of John Sargent."

Each year the ideals of the school seem more imperative, as renewed devotion from each one of the faculty promises greater fruition.

The statistics of the school for the year are as follows:

1. Total number of students, 322, men, 63; women, 259. Number in attendance at the present time (Nov. 2, 1899), 276. 2. Average age of the students, 22 years.

3. Graduates in June, 1899: public school class, 32; class in mechanical drawing, 5; class in industrial drawing, 10; total, 47. 4. Appointments since Oct. 1, 1898, of past pupils to be teachers and supervisors of drawing, 33. (Returns not yet received from many who, there is reason to believe, are teaching.)