summate artistry. Rembrandt’s Anatomy Lesson, which repels the average person, is one of the world’s masterpieces. It is often with pictures, as with novels, whose cleverness we are bound to admit, but whose themes are unpleasant or objectionable. A Drunken Bacchanal by Rubens may delight us for its color, or a Tavern Brawl by Teniers or Brouwer attract us for its life and action, however disgusting we may think the subject. The distinction should be kept clearly in mind between subject and art. Nevertheless, the perfect picture is that which unites noble ideals with strong craftsmanship. Such should be the art we set before our children.
No hard-and-fast rules can be laid down about the age at which the child may be taught the artistic qualities of a picture, so much depends upon the natural aptitude. Generally speaking, children are curious to hear how things are made. They like to see the wheels go round, and they are pleased to learn that even pictures have secrets. Repetition and Contrast are the most readily noticed of all qualities. Often without any hint from an elder the child points out in a picture one, two, three spots of red, or a curved line here and another like it there. The pupil who is fond of drawing may very likely ask questions which will open the way naturally to simple explanations. He is quick to see how his lessons in design may be applied to the structure of a picture.
I knew a boy of fourteen who became much interested in Raphael’s compositions as a help in his camera work. He had attended an art lecture only
