In introducing free movements into our schools, we should guard against commencing too rapidly. Pupils are apt to begin any physical exercise too rapidly, and accelerate the movements till they become confused, and there is no definiteness in them. They should be so slow that exactness can be secured. All motions of the head should be made very slowly and with measured precision, else dizziness will be induced, rendering the movements injurious rather than beneficial.

Let the breathing be slow and deep, the lungs as fully expanded as possible, especially when any sudden outside pressure is applied to the chest. In all exercises, inhalation and exhalation should be through the nose, the proper organ of respiration. "God breathed into man's nostrils the breath of life."

Do not attempt too much at one time. Five or ten minutes is long enough ordinarily for exercise, if properly done, and if not properly done one minute is too long. If pupils have been systematically trained for any considerable time, they can and will exercise one hour with less apparent fatigue than at first, five minutes.

At first many of the lads in my school, were obliged to sit and rest after a few moments exercise; parents would call requesting me not to compel their boys to exercise, for it made them lame, and they really thought I was permanently injuring their boys; and in fact, the simple system of free movements which we had adopted was made the scape-goat upon which was laid all the aches and pains which flesh was heir to; yet with kind, judicious treatment, it has not only survived the first trial, but the very parents who at first condemned the movements are loudest now in their praise; and I know that for the past three years nothing has been more conducive to the comfort of the teacher and the benefit of the pupils, than gymnastic exercises.

I might give many examples showing the great benefit which has accrued to my pupils since the introduction of regular physical exercises into the school. One must suffice; a lad who stood at the head of his class, who had an active mental organization, but a feeble physical development, was told by his worthy mother, when he came to my room, not to join in the physical sports with the other boys. She could not, she would not, have her boy ruined to gratify any man's whims. I saw the father and mother and tried to reason with them, endeavored to show them that judicious exercise was just what their son needed. No, it was a hobby of mine, and I had better try the system with my own children. When I told them itreally did other boys good, made them better and happier, they

66

replied that their son was not like other boys. These parents are not alone in the estimate of their children. Every parent thinks his child is an exception to the general rule. These kind parents said their boy took no interest in play at home, had no desire to play with boys on the street, took no delight in the usual sports of boyhood, but was a sober, noble, manly boy, caring most for his books; he needed very tender care, our calisthenic movements were too severe. I loved that boy, as I love all my boys, and I was determined, if possible to save him from an early grave. He had, before coming to my room, been obliged to be absent much of the time on account of his health, and it seemed to me that unless he would exercise with other boys he could not complete his school course; I believed the positions as taken by others would really be a movement cure" for him, and by much persuasion he was allowed to practice with the other members of the class. He soon showed signs of improvement, became lively and happy, and during his last school year, never neglected to exercise with his class; he was not tardy a moment nor absent a day during the entire year, increased his chest measurement more than three inches during the year, never studied so hard, never recited so well, and never was more happy, than when, with the greatest enthusiasm he joined in physical sports. And when that good mother took me by the hand as that noble, lively, manly boy of hers left my school, with the Franklin medal on his neck, an honor to any school, and a praise to any teacher, she thanked me for the interest I had taken in her boy, and especially was grateful because I had compelled him to join in our gymnastic exercises; and but a few days since the father of the lad told me that he stood at the head of his class in a well known literary institution, was a strong, healthy young man, and "I attribute his success" said he, "in a great measure to those simple physical exercises which I so unjustly condemned."

I speak of what I know, and testify of what I have seen when I say that scholars are better and teachers happier by the daily practice of free gymnastics in school.

If we as teachers take this matter of physical exercise in school into serious consideration, determined to cultivate the physical wellbeing of our pupils as enthusiastically and systematically as we do the intellectual, we shall see even in our day, a better and happier, because a healthier race, coming on to the stage of action, and future generations will rise up and call us blessed.

VI. THE TEACHER AS AN ARTIST.

BY Z. RICHARDS, A. M.

Principal of Union Academy, Washington, D. C.

EVERY man engaged in a lawful and necessary pursuit, can gain honor and success, by faithfulness and devotion to it; and he may justly consider such a pursuit as important and respectable. As a general thing, it is not the business, or the trade itself, but the arts and the tricks, or some signal success, which secures preferment and honor. The business of the honest and industrious cordwainer, is as respectable as that of the cunning pettifogger, or wily politician. It is not strange, or unreasonable, that those who become zealous and successful in the pursuits they have chosen, should have more and more exalted ideas of their importance.

Being called upon, not long ago to act as a bearer, it was our fortune to ride to the grave, with the undertaker, who discoursed to us learnedly and eloquently upon the trials, labors, and responsibilities of his profession, (as he termed it;) and he poured forth a profusion of words, to convince us that his business required moral qualities and business talents of the very first order; though we failed to be impressed with any thing more important in his work, than that of decently and quietly burying the dead out of our sight.

While we would not detract a single mead of honor, justly due to any other profession, nor attach to the work of the teacher, an importance or merit which it can not reasonably claim, we must be allowed to say, that the longer we live and the more we understand the teacher's mission, the more we are inclined to place it highest in the scale of importance, if not of honor. In order to better elucidate the views we entertain, we have chosen to consider "the Teacher as an Artist." For our present purpose we will define an Artist to be a person, who by his own ingenuity, training and skill, makes use of natural objects, in representing, combining, and constructing such works as may be necessary or useful to man. An imitator or copyist, is not, therefore, necessarily an artist. An artist's work must be necessary and useful, in order to give him a claim to the name and character of an artist. It is sometimes said, that "man's necessities are few;" but we choose to consider any thing necessary, which

will aid in securing a more perfect development and training of the powers and faculties with which we are endowed. Any human work is useful, which truly and legitimately, administers real gratification to any one, or to all the human senses. Why should that work or art, for the sake of distinction, be called useful, which merely secures for us food, clothing, and luxuries? Why is it any more useful to provide means for a good dinner, a good house, or a good equipage, than for a good picture, a fine piece of sculpture, for good music, or for a good education? Any instrumentality, which will administer proper gratification, is useful; and he who creates or provides it, is to that extent, a useful citizen and an artist. He, then, who designs and executes a true and beautiful picture, or piece of statuary, really performs a useful work. The sense of sight, if not as necessary to our life, as that of taste, is surely necessary to our comfort and happiness. The eye loves to look upon beautiful objects, not for its own sake, but for the pleasure it gives to the inner-the spiritual being. Again, he who originates a fine thought, or prepares the mind for its reception, is doing a useful work, and is an artist. He, then, who is engaged in developing and training the mind and character of a child, and possesses the proper qualifications for such a work, may properly be called an artist-teacher. Let not our friends, the professional artists, consider us as ultraists or intruders, if as amateurs, in their art, we see fit to apply the name of artist to one whose work is to mold the mind and cultivate the heart. We think we are not mistaken in our estimate of the importance of such a work, when we say that the true teacher has a higher claim to the name of artist, than he has been wont to claim for himself, or than others have been willing to allow. Very many of the friends and advocates of the Fine Arts, claim that they stand first among the causes which tend to promote civilization and the most refined state of human society; that wherever we find the arts in their highest perfection and glory, there we find the most refined and elevated human character. We are not now disposed to controvert these claims, although we consider them unjust, and based upon short sighted and superficial views. As friends of true progress, we claim that art is the consequent, rather than the antecedent of civilization and refinement. Their several influences are doubtless reciprocal; upon the same principle that effects sometimes beArt will promote civilization, but it is not therefore the cause of civilization. The mountain spring will furnish me with water; but springs are not therefore the cause of water, but water the cause of springs. Those therefore who invert the order of

come causes.

sequence, in comparing the results of art and of civilization, should bear in mind that they do the cause of civilization and moral progress, as well as of art itself, great harm. When we hear the advocates of art, claim, and openly announce, that morals and even Christianity itself, are improved and elevated, and beneficially modified by the arts, we must conclude that they have failed to recognize the fact, that the Religion of Divine Revelation, came from the hands of the Great, the Supreme Artist: that whatever defects may be exhibited in the exemplification of our holy religion, have arisen from the influence of imperfect men; and that He who is perfection itself, could have never devised an imperfect plan for the spiritual training of immortal beings. It may be true that the church has been the patron of the arts; but in no true sense, that the arts have been the patrons of pure religion. If the arts have modified Christianity, they have done so by introducing materialism and iconism in violation of the first and second great commands of Jehovah. The arts when used for the service and promotion of religion must ever be kept subservient to the perfect principles, which they are intended to represent; for as no picture or representation can come up in its character and spirit, to the real thing, it is to represent, so no degree of art, can improve that heaven-born gift to man, Christianity. We have no intention or wish to detract a single iota from the real claims of art, or from the merits of artists, nor from the value and importance of their productions. Far from it. We seek rather to enhance their value and elevate them upon correct principles, by using our mite of influence in trying to make the people understand, that he who administers true gratification and pleasure to man through the eye, or any of the five senses, is as truely a benefactor, as he who can multiply means for healthful food and necessary clothing.

In order the more fully to particularize and illustrate the requisite qualifications of the teacher as an artist, we will first consider the subject, which is to furnish the theme for his consideration and skill: next the kind and variety of material, which is to be used in the production of his work; again, the instrumentalities necessary to be used; and finally, the object to be secured in the completion of his work.

First, then, the subject of the artist-teacher is a human, moral, immortal and accountable being, in an undeveloped, untrained, and uneducated state.

This being is to be developed, trained and educated, so as to bring out all its powers and capacities. The body, with its eye, ear,