International studio (25.1905)

71%g


FIRST EXERCISE IN RAISING AND TOOLING IN COFFER

is simple. In his own often halting and crude
fashion the student is encouraged to try and add
life to the outline he has learned to express ; to
suggest, as well as he can, the sense of surface and
modelling that he gathers from his observation of
the model Here progress may be slow and false
steps more easily made, but, with the same assist-
ance from his master and, possibly, little technical
hints as to the methods to be used, there arrives
again the result, not of someone else's interpreta-
tion of the model, slavishly copied and lacking
imagination and expression, but the first—possibly
crude, and certainly immature, but still the first—
development of the student's own perception and
analysis. How much this individual interpreta-
tion counts may be judged by noting the striking
differences in the treatment in work from a common
model which is yet all of equal merit and interest.
The progress from inanimate to animate nature is
rapid, and the spectacle of rows of first - year
students busily engaged in arresting the move-
ments of a live bird or animal and recording them
vividly on paper, though common enough in Japan,
is somewhat of a novelty here. The results are
such as to amaze one.
The innate capacity of quite rough and untutored
lads to appreciate the grace and movement of their
subjects, and to record their impressions with the
only recently handled pencil, is in many cases quite
marvellous. Now comes one of the most vital
parts of their training—to prove the sum of their
observation, and show that it is really developed.
The class in memory drawing is a fairly good test.
The students are allowed a few minutes' study of
either a plant, animal, or peihaps, in the elementary
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classes, some simpler form, and are then required
to draw it from the recollection of the very brief
space allowed for its observation. They are ex-
pected, as they progress, not only to remember
accurately its outline, but its structure, and texture ;
in fact, to have imaged it completely within the
memory. This exercise is not only excellent, but
it possesses in abundant measure that quality of
personal interest which is so distinguishing a feature
of the whole course of the training.
In the metalwork school, for which, of course,
all this training is a preliminary, the same uncon-
ventional methods hold sway. The orthodox plan,
whereby the student had first to submit a care-
fully and minutely executed design and working
drawing of a piece of metalwork or jewellery before
attempting its production, is dispensed with.
The student is not encouraged to commence
work in these classes too soon, but when he ex-
presses a desire to begin he is permitted to do so.
If he is a very elementary pupil, only simple routine
work is permitted, to familiarise him with his tools.
His graver and punches must come to his hand as
readily and as surely as his pencil, and insensibly
he will learn not only their use but their limitations.
There is no undue striving after results as yet.
Here no arbitrary examination looms ahead,
menacing teacher and student alike, and he is
allowed to gradually absorb first principles. After
some little time so spent he would perhaps express
the wish to raise a bowl, in copper—some simple
shape, naturally. What is his idea? Very well,
let him try it. If it fails, its failure is proved by
his own verdict; there is no criticism in terms he
cannot understand. Show him a good bowl, and