CHAPTER III
ART AS A PREPARATION FOR WORK AND TOOL-MAKING
THE YOUNG ARTIST AND HIS MODEL
THE key to the problems of human progress appears to lie in the realm of the unconscious. It is the new understanding of that dark realm that leads people no longer to look upon natural impulses as evil or meaningless. The young child cannot project his hand, but he uses it, and invents, or discovers rather, a hundred ways of using it, so that some teachers, as we have seen, have set themselves to copy them. He does not project his sense organs in instruments, but he loves, not only music, but noise, experiments even in painful ways (as when he draws a screeching pencil down his slate). He cannot project his muscles in fine mechanisms, but everyone knows how he experiments with muscles and even with joints.
He does not stop short entirely, however, at this point of mere activity and sensation. He gets a kind
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