346 THE DISCOVERY OF THE CHILD
Finally, it is possible to compose artistic representations by
cutting out coloured paper, like those made for artistic purposes,
fey Oswald, the famous Viennese physicist.
These papers, finely graded as to colour, prepared scientific-
ally, lend themselves to the appreciation of harmony in the-
combination of colours.
These two separate facts, line and colour, are determined and
perfected independently of each other. They are an acquisition
of the individual, who becomes skilful in expressing himself artis-
tically with the two things together.
Thus the individual is perfected by education without inter-
vention in the work already carried out by him spontaneously.
In fact, interfering in work done is always an obstacle which
interrupts the inner trend of expression, as may happen when direct
means are applied to the teaching of drawing.
Our way, for drawing as for writing, is called the ** indirect
method ". The result is that the children, growing more capable
of expressing themselves, make hundreds and hundreds of drawings,,
sometimes producing ten in a single day, just as they are also-
unwearied in their writing.
Yet we do not find that progress continues indefinitely, as in.
written language, nor do the drawings indicate that all the children
will become artists. At a certain moment there supervenes in
almost all cases, a lack of interest in drawing, when other interests,,
such as writing, take precedence. This lessening of the artistic
leaning towards drawing has been observed by many people, parti-
cularly by psychologists in art.
Cizek, for example, in his famous school of free art in Vienna,,
noticed that many children who seemed to have a passion for
artistic work and to be artistically endowed by nature suddenly
lost all interest in art and therefore ceased to make progress. And
Dr. Revesz (a psychologist dedicated specially to art) says as a
result of her experience: " There are children who, as their faculty
of linguistic and cultural expression develop, gradually come to
abandon drawing completely, either because it no longer interests