THE CONSTRUCTIVE FACULTIES.
"He who hath learned a single art,
Can thrive, I ween, in any part."
--_German Proverb_.
"He would have taught you how you might employ
Yourself; and many did to him repair,
And, certes, not in vain; he had inventions rare."
--WORDSWORTH.
When I had, after many years of study and research in England and on
the Continent, developed the theory that all practical, technical
education of youth should be preceded by a light or easy training on
an æsthetic basis, or the minor arts, I for four years, to test the
scheme, was engaged in teaching in the city of Philadelphia, every
week in separate classes, two hundred children, besides a number of
ladies. These were from the public schools of the city. The total
number of these public pupils was then 110,000.
My pupils were taught, firstly, simple outline decorative design with
drawing at the same time; after this, according to sex, easy
embroidery, wood carving, modeling in clay, leather-work,
carpentering, inlaying, repoussé modeling in clay, porcelain painting,
and other small arts. Nearly all of the pupils, who were from ten to
sixteen years of age, acquired two or three, if not all, of these
arts, and then very easily found employment in factories or fabrics,
etc.
Many people believed that this was all waste of money and time, and,
quite unknown to me, at their instigation an inquiry was made of all
the teachers in the public schools as to the standing of my art pupils
in their other classes, it being confidently anticipated that they
would be found to have fallen behind. And the result of the
investigation was that the two hundred were in advance of the one
hundred and ten thousand in every branch--geography, arithmetic,
history, and so on.
It was not remarkable, because boys and girls who had, at an average
age of twelve or thirteen, learned the principles of design and its
practical application to several kinds of handiwork, and knew the
differences and characteristics of Gothic, Arabesque, or Greek
patterns, all developed a far greater intelligence in general thought
and conversation than others. They had at least one topic on which
they could converse intelligently with any grown-up person, and in
which they were really superior to most. They soon found this out. I
have often been astonished in listening to their conversation among
themselves to hear how well they discussed art. They all well knew at
least one thing, which is far from being known among æsthetes in
London, which is that in Decorative Art, however you may end in all
kinds of mixtures of styles, you must at least begin with organic
development, and not put roots or flowers at _both_ ends of a branch
or vine.
The secret of it all is that those who from an early age develop the
constructive faculty (especially if this be done in a pleasing, easy
manner, with agreeable work) also develop with it the Intellect, and
that very rapidly to a very remarkable degree. There are reasons for
this. Drawing when properly taught stimulates visual perception or eye
memory; this is strikingly the case when the pupil has a model placed
in one room, and, after studying it, goes into another room to
reproduce it from memory. Original design, which when properly taught
is learned with incredible ease by all children, stimulates
observation to a remarkable degree. The result of such education is to
develop a great general quickness of perception and thought.
Now, be it observed, that if anyone desires to learn design or any
art, it may be greatly facilitated by the application to it of Will
and Foresight, and in the beginning, Self-Suggestion. He who
understands the three as one, sees in it a higher or more energetic
kind of self-discipline than most people practise. In the end they
come to the same as a vigorous effort of the Will.
Thus, having mastered the very easy principles of design which govern
all organic development or vegetable growth (as set forth in a plant
with roots, offshoots, or crochets, and end ornaments, flowers, or
finials, with the circle, spiral, and offshooting ornaments; rings
made into vines and wave patterns; all of which can be understood in
an hour with diagrams), let the beginner attempt a design, the simpler
the better, and reproduce it from memory. If on going to bed he will
impress it on his mind that on the morrow he would like to make more
designs, or that it _must_ be done, he will probably feel the impulse
and succeed. This is the more likely because patterns impress
themselves very vividly on the memory or imagination, and when studied
are easily recalled after a little practice.
The manner in which most artists form an idea, or project their minds
to a plan or invention, be it a statue or picture; and the way they
think it over and anticipate it--very often actually seeing the
picture in a finished state in imagination--all amounts to foresight
and hypnotic preparation in a crude, imperfect form. If any artist who
is gifted with resolution and perseverance will simply make trial of
the method here recommended, he will assuredly find that it is a great
aid to Invention.
It is probable that half the general average cleverness of men is due
to their having learned, as boys, games, or the art of making
something, or mending and repairing. In any case, if they had learned
to use their hands and their inventiveness or adaptability, they would
have been the better for it. That the innumerable multitude of people
who can do nothing of the kind, and who take no real interest in
anything except spending money and gossiping, are to be really pitied,
is true. Some of them once had minds--and these are the most pitiful
or pitiable of all. It is to be regretted that novels are, with rare
exceptions, written to amuse this class, and limit themselves strictly
to "life," never describing with real skill, so as to interest
anything which would make life worth living for--except love--which is
good to a certain extent, but not absolutely all in all, save to the
eroto-maniac. And as most novelists now pretend to instruct and convey
ideas, beyond mere story-telling, or even being "interesting," which
means the love or detective business, I would suggest to some of these
writers that the marvelous latent powers of the human mind, and also
some art which does not consist of the names and guide-book praises of
a few great painters and the Renaissance _rechauffée_ would be a
refreshing novelty.
The ancient Romans were thoroughly persuaded that _Exercitatione et
usu_ (by exercising the physical faculties in every way; by which they
meant arts as well as gymnastics; and by making such practice
habitual) they could develop intellect, in illustration of which
Lycurgus once took two puppies of the same litter, and had the one
brought up to hunt, while the other was nursed at home in all luxury;
and when grown, and let loose, the one caught a hare, while the other
yelped and ran away. So the word _handy_, in old English _hend_,
meaning quick, alert, or gifted with prompt perception, is derived
from knowing how to use the hands. BRUSONIUS ("Facetiæ," Lyons, 1562)
has collected a great number of classic anecdotes to illustrate this
saying.
_Recapitulation_. Those who desire to become artists, can greatly
facilitate their work, if beginning for example with very simple
outline decorative designs, and having learned the principles on which
they are constructed, they would repeat or revise them to themselves
before sleep, resolving to remember them. The same principle is
applicable to all kinds of designs, with the proviso that they be at
first very easy. This is generally a very successful process.
_Fore thought_, or the projection of conception or attention with
will, is a marvelous preparation for all kinds of art work. He who can
form the habit of seeing a picture mentally before he paints it, has
an incredible advantage, and will spare himself much labor and
painting out.