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students supplement their study of the theory of art by practice. As
may be surmised, by far the largest number of advocates is found in
the middle division.

One form of practice is Representation. In this form the student
begins by drawing in freehand very simple objects either in outline or
mass, and proceeds through more advanced exercises in drawing from
still life, to drawing and painting of landscape and the human figure.
With the addition of supplementary studies, such as anatomy,
perspective, modeling, composition, craft work, theory, history, etc.,
this would be, broadly speaking, the method followed in schools of
art, where courses, occupying from two to four or five years, are
given, intended primarily for those who expect to make some sort of
creative art their vocation.

It is this kind of work which opponents to practice for the lay
student have in mind. They claim that only by long and severe
training can he produce such works as will give satisfaction to him or
to others who examine his handiwork. They contend that the
understanding of works of art is not dependent upon ability to produce
a poor example. They offer many amusing analogies as arguments against
practice courses for lay students. They maintain that the proof of the
pudding is in the eating, rather than in the making; that to enjoy
music one need not practice five-finger exercises; that other
creatures than domestic fowls are capable of judging of the quality of
eggs; that to appreciate the beauty of a tapestry it is not necessary
to examine the reverse side. It will perhaps be sufficient, for the
present, to point out that in so far as such alleged analogies can be
submitted for arguments, they are equally applicable to laboratory
courses in any subject which is studied with a non-professional or
non-vocational purpose.

It is true, however, that such a course as that outlined above demands
a large amount of time, compared with the results attained; and while
successful courses in Representation are offered in certain colleges,
the great mass of college students, who cannot hope to acquire a high
degree of skill, would hesitate to devote a large part of their
training to technical work, even if college faculties were willing to
grant considerable proportions of credit for it toward the bachelor of
arts degree.

=Relative value of freehand drawing and design=

It will be understood by the reader that the value of elementary
freehan