Selected writings of Thomas Godolphin Rooper . ell expect to help chil-dren to draw by such copiesas these as to aid children to distinguish colours correctly ifyou put on them a pair of blue spectacles. Another feature in the drawings of infantsis the difficulty which they experience ingrasping the relative proportions of parts, Acup, for instance, which is wider than it is highwill be drawn in converse proportion. Perhapsthis is again an instance of the error beforeindicated. Cups are not usually more wide thandeep, and the child draws, not the cup beforehim, but the more usual picture which
Selected writings of Thomas Godolphin Rooper . ell expect to help chil-dren to draw by such copiesas these as to aid children to distinguish colours correctly ifyou put on them a pair of blue spectacles. Another feature in the drawings of infantsis the difficulty which they experience ingrasping the relative proportions of parts, Acup, for instance, which is wider than it is highwill be drawn in converse proportion. Perhapsthis is again an instance of the error beforeindicated. Cups are not usually more wide thandeep, and the child draws, not the cup beforehim, but the more usual picture which isalready established in his mind as a fixedtype, and is called up by the hasty view ofthe particular cup which you show him. Details, again, are exaggerated. The childdelights in caricature and in the grotesque,far more than lovers of pure art could is a drawing done from nature by asharp boy of six. The various parts seem tome good, and the face was really like the boy who stoodas model. But the proportions are absurd. Anyone who. Drawing in Infant Schools 69 has noticed the picture of the Battle of Sant Egidio, by-Paolo Uccello, in the English National Gallery, must havenoticed with surprise the contrast between the drawing ofthe horses and of the men. The men in armour are admir-ably painted, but the horses are quite ridiculous. It seemsthat it was an innovation in the fourteenth century to painthorses, and competition had not sharpened the artists powersof observation and execution. The toy-like horses in thispicture remind me of childrens drawings. Children seemto paint details, and the object is hardly realized as a child has not learnt to keep two parts in the mind atthe same time. One detail is not subordinated to anotherin the field of vision as it is in nature. A clear instanceof the isolation, in the childs mind, of details which arereally parts of one whole, is well shown in the drawing ofan oblong and a square, some space apart, to stand for t
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