students outside of class has already been mentioned. It
consists of collateral reading, the study of prints and photographs,
and the preparation of written themes and reports. Notwithstanding the
lavish production of books relating to art, there are but very few
that are suitable for use as college textbooks. The instructor will
usually assign collateral reading from various authors.

=Testing results of art instruction=

In attempting to measure the success or failure of the work, the
teacher must ask himself, What do our college graduates who have taken
art courses possess that is lacking in those who have not taken such
courses?

The immediate test of the results of the work is in the attitude of
mind of the students. Do they think differently about works of art
from what they did before entering the courses? Is there a change in
their habit of thought? Have they done no more than accept the lessons
they have been taught, or have they so absorbed them and made them
their own that they are capable of self-expression in making their
estimates of works of art? These questions may be answered by the
result of the written examination and by the oral quiz.

It must be confessed that the chief purpose of art instruction in the
college is to supply a lack in our national and private life. Citizens
of the older communities of Europe pass their lives among the
accumulated art treasures of past ages. The mere daily contact with
such forms of beauty engenders a taste for them. Partly through our
Puritan origin, partly through our preoccupation with the development
of the material resources of our country, we, as a people, have failed
to cultivate some of the imponderable things of the spirit. So far as
we have had to do with its creation, our environment in town and
village is generally lacking in artistic charm.

The study by lay students of the art of the past has one chief object;
namely, to train them to understand the works of the masters in order
that they may discriminate between what is beautiful and what is
meretricious in the art of the present day; to learn the lessons of
art from the monoliths of Egypt, the tawny marbles of ancient Greece,
the balanced thrusts of the Gothic cathedral, the gracious and
reverent harmonies of the primitives, the delicate handicrafts of the
Orient, the splendors of the Renaissance, the vibrant colors of the
latest phase of impressionism, and to apply these lessons in the
search fo