Extra drawing teaching is absolutely necessary to prepare boys for the kind of drawing required to pass the Navy Examination. These need special instruction in pen drawing from good examples, and this may well be combined with black and white wash work, to form an easy passage to sketching from nature. The Classes for extra drawing at Greenbank School, Liverpool, have been remarkably successful, not only in rapidly bringing boys on, but also in arousing interest in drawing throughout the school the ambition to do well enough to be qualified to join them being very general. Pen drawing is very popular, its special artistic qualities, the crispness, the sparkle, the effectiveness of contrasted tones, of vigorous blacks, and whites made brilliant by silvery half-tones, being quickly appreciated. I have been surprised to find how many boys are inclined to very fine delicate and elaborate work. I have a good collection of copies, many of them original, and the others selected to show as much variety of good method as possible. I require beginners in pen work to do special bits of practising to enable them to get the precise depth of different tones by means of straight lines, uncrossed, of varying thickness and closeness of line, and find this an excellent and unsuspected way of getting boys to practise the otherwise uninteresting drawing of straight lines.

Black and white wash work drawings are also great favourites. These are for the most part pocket-book sketches in pencil reinforced with washes-a quick, handy, and effective means of sketching from nature.

There is no doubt that boys with the slightest artistic inclination take greater interest in this drawing from little black and white pictures than in working from models, probably because it seems so much nearer to Art, and also because its results are better appreciated at home. But though I ain gratified with the success of this part of my teaching, I am convinced that it should be secondary to the model drawing. A boy may copy a picture with delicate accuracy who could not make a fairly correct drawing of a haystack, or the open door of a room or the top of a table. The drawing from common objects, properly taught, is a much more thorough training in the art of seeing. At the same time it must be remembered that a boy may excel in drawing cubes and models whose more distinctly artistic faculties-his appreciation and capacity for pictorial or decorative design-remain almost wholly uneduced. It is, therefore, very desirable that both kinds of work should be taught in schools-and the satisfactory copying of even very simple pen drawings and black and white pictures cannot be taught in large mixed classes.

Classes for extra drawing, however, should be used also for the teaching of drawing from casts and from flowers and plants and other models too difficult (because of their varying aspects) for a large class. I have found the younger boys in a preparatory school do not take at all kindly to working from casts. The large yet searching manner of seeing necessary for their proper copying seems to entail a greater mental effort on young boys

than they can give, with so little stimulus as the unnatural dirtywhite objects provide. Of the great value of such work, however, there is no room for doubt. The casts may either be from nature or from the antique. They should not be so large as to overtax a boy, and I think of small casts those from small natural objects are the best.

At Greenbank School we have tried to encourage the designing faculty. From my experience, I should say inventive designing capacity is more common amo ng young girls than young boys, for though inducements have been held out to get original designs for initial letters, monograms, and bookplates, the results, with few exceptions, have been unsatisfactory.

I regard it as very important for the teacher to watch keenly for any little sign of merit, and especially to recognise the good qualities underlying some defects. Praising is the pleasantest and, perhaps, the most profitable part of the lesson, but the pointing out of faults is a duty which must never be shirked. Boys have, for the most part, a very keen sense of justice, and appreciate strictly fair dealings, even when unpleasant for them.

MARKS FOR DRAWING.

In this connection I must say a word on the subject of marks. Though the teacher can ill-spare any of the short time from the teaching to award marks for drawing, I think marks should be given, and they have, of course, a greatly increased value if they count in the general work. Clever boys who do not care for drawing would then find it necessary to give more than a perfunctory attention to it, and many others would apply themselves more earnestly for the sake of the small but tangible reward. The boys who draw well (who I am told sometimes do nothing else well) would feel themselves less a set apart, if their marks for drawing improved their position in the school. It is very undesirable that drawing should be considered an outside matter..

JAMES T. WATTS.

Memory Drawing.

How to teach Memory Drawing.
Elementary Shading.

Relief Shading.

Proportion.

Blackboard Exercises.

What is being done in Preparatory Schools.

Necessity for Organisation in Preparatory School Marks for Drawing.

Do not work mainly for show.

Do not "touch up" pupils' work.

Association of Art Classes with Workshop.

What might be done in Workshop.

How to treat specially gifted boys.

Lost opportunities.

A plea for more time.

Encourage gifted children.

How to correct faults of hand.

Furniture and Materials.

Materials for Pupils.

How to obtain Drawing Objects.

School Museums.

Avoid dulness in teaching

Boys should draw in learning any subject.

Advice to young Teachers.

Confidence in teaching.

Teaching on the Continent.

Art Teachers should form an Association.