place, in this relation: that the boy, by looking on, learns the whole process of drawing figures, and, in the second place, on the other hand there is developed in him a far better comprehension of the relations of lines through this sketching on the board than through copying of sketches and originals. By this system the possibility of out and out copying is entirely obviated, the figure itself, like an object from Nature, must be drawn on a smaller scale.
It is almost always useless to hang up a large picture or figure already perfectly drawn, because the beginner will really be at his wits' ends before it, just as before an object from Nature. But the development of a figure before his eyes has great significance. The pupil in this case sees the bones of the sketch, the skeleton on which afterward the body itself will be constructed.
The pupils were constantly called on to criticize the bones which I drew, and their relations. I often drew them incorrectly on purpose, so as to find out how far their judgment was formed concerning the relations and correctness of the lines. Then I would ask the boys, when I had drawn a figure, where, in their opinion, another line should be added, and I even made one or another of them think out a way of constructing a figure.
By this means I awakened in the boys not only a more lively but also a free cooperation in the construction and development of the figures; and this annihilated in the children the question "Why?" which the child always naturally asks himself when he is set to copying an original.
The course and method of instruction have been chiefly determined by the ease or difficulty of comprehension, the greater or less amount of interest manifested, and I have often thrown away something entirely prepared for the lesson, simply because it was wearisome or unfamiliar to the boys.
Hitherto I have given symmetrical figures to copy because their formation is the easiest and most obvious. Then by way of experiment I asked the best
