While we “have the institutions, there
fore, we have not yet the pupils that
may form a favorable comparison with
those we find in the crowded academies
of Europe. Time is required to supply
this material of the fiber and consisten
cy we find abroad. Independent of the
merits of the master, time is required
to form the traditions that hold the pu
pil to his tasks, that curb his will with
bit and bridle, and bend him to the
fundamental elements of discipline. In
Europe the pupils themselves govern
the ateliers, and in a democratic way;
they' regulate affairs, form the rules and
see that they are enforced. The tone
and character of the work even is often
in reality the influence of a few vigorous
leading pupils whose power is recogniz
ed and felt to be dominant. They oc
cupy, in fact, without commission, the
places of tutors in colleges, who, being
nearer the pupil than the professors, are
better able to understand their needs
and make known to them the elemen
tary methods that they themselves have
but recently learned. The master, hav
ing long passed the Rubicon, has to re
trace his steps to reach his pupil, and is
apt to look down upon him with impa
tience from too high a plane to fully un
derstand or sympathize with his strug
gles. Among the pupils, however, the
eye of the weaker one is ever fastened
on the stranger; lie sees the process laid
bare in what is going on under his ob
servation; he “gets the hang of it”—
that is, of technique—and so he learns
to handle the implements and manipu
lates the means with some skill; things
which the master gives little attention
to, teaching rather how to sec the object
you are working from; to imitate it
simply, broadly, characteristically; to
observe the plans, model the forms, give
the surfaces and substances truthfully—
in short, it is drawing, modeling sub
stance, and relief that concerns the
master’s oversight; you may flounder
with the palette as you please if you
only get at the nature of these qualities.
