Governors:

The Board of Governors of Canterbury College.

Head Master:

David Blair, late Art Examiner, Science and Art Department, South Kensington, London: formerly Head Master, Islington School of Art, London.

Second Master:

George H. Elliott, late Assistant Master, Bradford Grammar School.

Assistants:

William E. Chapman.

E. Louise Bradbury.

The Annual Session consists of three terms, each lasting thirteen weeks, commencing severally in January, May, and. September.

Morning classes meet on Monday, Wednesday, and Friday, from 10 to 1. Fees—£2 2s. per Term; £5 5s. Annual Session. A class for the study of Landscape from nature meets on Tuesday and Thursday.

Evening classes meet no Monday, Wednesday, and Friday from 7 to 9. Fees—15s. per Term; £2 Annual session.

All fees payable in advance.

Permission is given to students properly qualified to study in the school daily between the hours of 10 and 4. In connection with this, a special life class meets on Tuesday evening, and a general life class on Saturday afternoon.

A Register of the students' attendance is kept, and may be consulted by parents and guardians.

Visitors may inspect the school and the work of the students on application to the Master.

Further information may be obtained on personal application at the school, or by letter addressed to the Master, School of Art. or the; Registrar, Canterbury College.

The course is intended to teach Ornament and the Figure, with a view to their ultimate use in design and composition, and includes the study of plants and flowers, the painting of Still-life, and the drawing and painting of Ornament and of the Figure.

In following out the Courses of Instruction, Students are required to pass, with the approval of the Master, in the following stages:—

Course I.—For students wishing to Study

Landscape, Still-Life, and Flower Painting.

Students in this Course should attend Lectures on Geometry, Perspective, and Botanical Drawing.

Course II.—For Students wishing to Study

The Figure.

1.

Elementary.—Preparatory to any study in this Course:— Stage 2b. Outlining from the flat (if necessary). 8a. Outlining details of the Face from the round.page 13 Stage 8a. Outlining the head, hands, and feet, and the whole figure from the round. 5a and b. Shaded drawing in chalk, from models and casts of ornament.

Before being admitted to the next Preparatory Course, Students must pass in Second Grade Perspective and Model Drawing.

Course III.—For Studens wishing to Study

Design.

Students in design must first follow the Elementary Division of Course I., and attend Lectures on Plant form, Design and the History of Ornament.

Course IV.—Modelling.

Before entering the Modelling Class, students must pass the elementary stages in Course II., and attend the model drawing and perspective lectures.

Course V.

Lithographic Drawing (on Stone.)

Drawing on Wood (for Engraving.)

Students wishing to study in this course must pass in one of the two elementary courses, and in stages 5a. and b., and 8b1, and must carry on the advanced work of the school when the class does not meet.

Course VI.

Building and Machine Drawing.

Before commencing the work of this course, students must pass in freehand drawing from fiat examples and from models, and attend lectures on practical plane and solid geometry.

Freehand.

(12 Lectures. 1st Term.)

Materials—how to select and use them. Paper, pencils, Indiarubber. Sepia and brushes.

Method of sketching. Difference between drawing on a table or desk and on a blackboard or easel. The hand and its action compared with the arm. Dotted lines to be avoided in sketching. The use of indiarubber. Lead pencil suitable for first practice. Soft pencils preferable to hard.

Lining in—its object. Value of water colour as a medium for lining in, compared with lead pencil. Method of laying a flat tint over a drawing.

Systematic study. Importance of Analysis in Freehand. Stages in the progress of a drawing. Primary lines and masses—these frequently difficult to determine—their connection with the form. Blocking out as distinguished from squaring. Secondary forms as related to the whole drawing. Third and succeeding stages — details and their relation to each other—analysis of detail—forms issuing from forms. Illustration of these principles by examples from Jacohsthal and Meurer. The Colonial Drawing Book, specially prepared to secure a systematic method of instruction. Symmetrical, compared with non-symmetrical work as a means of training the eye. Practical Plane Geometry and its value in Freehand drawing. Appreciation of form. The preparation of Freehand examples. The value of different examples in teaching.

Practical Plane and Solid Geometry.

(20 Lectures, 2nd and 3rd Terms.)

Practical Geometry and its connection with an art training.

Instruments—how to select and use them.

Plane Geometry. — Definitions:—Lines, Angles, Triangles, Quadrangles, Polygons, the Circle and Ellipse.

The division of Lines and Angles.

Trilateral Figures:—Equilateral, Isosceles, Scalene. Right, Acute, and Obtuse Angled Triangles, their construction from given sides, angles, and dimensions.

Quadrangles:—The Square, Rectangle, Rhombus, Rhomboid, and Trapezia, their construction from given sides, angles, and dimensions.

Polygons:—their construction from given sides, angles, and dimensions. Inscribed and described rectilineal figures.

Proportion and area.

The Circle:—inscribed and circumscribed rectilineal figures.

The Ellipse:—different methods of construction. Tangents and perpendiculars.

Solid Geometry.—Definitions of Elementary Solids:—The Cube, Prism, Pyramid, Sphere, Cylinder, and Cone.

Planes of projection. Plans, Elevations, and Sections.

Given the projection of a solid in either plane to find its projection in the other plane. Vertical and Horizontal Sections.

The Circle and its projection applied to the cylinder, cone, and sphere.

Elementary Perspective.

(20 Lectures, 2nd and 3rd Terms.)

Definitions:—The Spectator or Station point. Line of Direction. Plane of Dilineation. Centre of Vision. Structure of the eye. Facts connected with Vision. The Cone of Rays or field of Vision. Horizontal and Ground Lines.

Perspective representation obtained by plan and elevation—this insufficient for the art student; its value in proving the rule for finding Vanishing and Measuring Points.

To find a point on the Ground Plane, given its position within the picture. Vertical and Horizontal planes in perspective. Line of heights.

Representation of Lines and Solids in a plane parallel with the ground.

Rectangular Solids—The Cube, Plinths, Prisms, and Pyramids.

Polygonal Solids; truncated pyramids.

The Circle parallel and perpendicular with the ground. Cylindrical and conical solids.

Solids combining curved and right lines. Solids in relation to each other.

Given the plan and elevation of any solid to find its perspective representation.

Given the perspective representation of three or more points, to find the length of the lines joining them, and the degrees in each angle, (a) when the points are on the ground plane, (b) when the points are in space.

Advanced Perspective.

(12 Lectures, 1st Term.)

Perspective of Interiors. Representation of lines and solids.

Shadows.—Sunlight—when the sun lies in the plane of the picture—behind or in front of the picture plane—in a vertical plane perpendicular to it or at an angle with it. Shadows on two planes—horizontal and vertical—oblique planes. Shadows cast on curved surfaces. Shadows by a curved surface on two planes—on curved surfaces. Shadow cast by a sphere.

Artificial Light.—Interiors, one light—two or more lights on planes at any angle.

Reflections.—Angle of incidence and reflection. Point of incidence. Horizontal reflecting planes—still water. Vertical reflecting planes—perpendicular, parallel, or at an angle with the picture, lnclined reflecting planes at any angle with the picture.

Light and Shade. Colour.

(12 Lectures, 3rd Term.)

Light and Shade.—Materials used to represent it—pencil, chalk, charcoal—water colour and oil. Different methods of work.

Shadow and reflected light. High light and half tints. Tone. Breadth of light and shade.

Importance of shadows as to form and proportion.

Colour.—General considerations. Primary, secondary, and tertiary colours. Shades, tints, and hues.

Contrast and harmony. Qualities of colour—warm and cold—advancing and retiring.

Local colour. Influence of light and shadow. Colour of shadows.

Characteristics and selection of colours for water-colour and oil painting. Brushes and implements.

Hints on study and manipulation.

Model Drawing. Drawing from the Cast Composition of Line.

(12 Lectures, 2nd Term.)

Model Drawing.—Position of the model with reference to the Student. Line of Direction and Picture Plane. Facts connected with vision. Education of the eye.

Means for determining the direction of a line, and its angle with another—plumb line and level.

Conditions under which parallel lines appear parallel. Convergance of parallel lines, whether horizontal, ascending, or descending.

The geometry of solids. Method of building up a model drawing. Measuring the apparent length of lines and surfaces. Model drawing and its relation to Landscape.

Circular Models. Foreshortening of circles at the same or different levels on a common axis, when vertical, horizontal, or inclined. Cylinders, vases, &c.

Drawing from the Cast—compared with drawing from flat examples, and from models.

Relief. Position of the eye with reference to the cast. Importance of keeping the same position during the progress of a drawing from a cast in high relief—how this may be done.

Relation of one part to the other. Difference between model drawing and drawing from the cast in this respect.

Examples of ornament and figure work.

Composition of Line—illustrated by natural objects. Contrast. Conventional ornament. Grouping of forms and the arrangement of lines in design. Radiation of line. Drapery. Panels from the Ghiberti Gates.

Plant Form.

(12 Lectures, 1st Term.)

Fresh specimens of the plant required for each Lecture must be provided by the students.

Position of the plant in the Vegetable Kingdom—Natural Order.

The Stem, its form and branching. Leaves—their venation and margin, simple and compound leaves. The leaf stalk and its insertion. Sessile leaves. Stipules, spines and tendrils.

The leaf and flower bud partly expanded. The fully expanded flower, its petals and sepals; relation of the calyx and corolla. Filaments and anthers. The fruit and seed.

Sketching flowers and foliage from Nature. Relation of the flowers and leaves to the stem. Pose of the plant and leaves.

Linear perspective applied to sketching flowers and foliage. Aerial perspective and its value in outline drawing.

Design and Historic Ornament.

(20 Lectures, 2nd and 3rd Terms.)

Design—constructive and ornamental.

Constructive Design.—Technical knowledge required. Elementary facts connected with mechanics. Nature of the materials used.

The relation of constructive and ornamental design as illustrated by Furniture, Earthenware, Glass, and Metal work.

Suitability of material. Fitness of form. Quality of workmanship. Hand-made and machine-made work.

Ornamental Design—its nature and character. Work of Savage tribes—New Zealand, Fiji, Sandwich, and Friendly Islands, as illustrating unconscious intelligence in design.

Principles of Ornamental Art.

Equal distribution. Symmetry. Repetition. Variety. Contrast. Composition of line. Radiation. Tangential composition. The Anthemion.

Elements of Ornament.

The proper distribution of Ornament. Power of ornament to express feelings and ideas.

Historic Ornament.

Ornament of Savage tribes—Tatooing, Stamping, and Weaving. Carving. Geometrical patterns, interlacing. Curved forms. The Human Figure. Clubs and paddles.

Egyptian ornament—its symbolism. The Lotus and Papyrus. The Palm branch. Plaited patterns, mats. The fret. Carving and painting. Colours used by the Egyptians.

Assyrian and Persian ornament—its origin. Bas-relief. Painted ornaments, bricks, and pavements. Colours used. Sacred trees, the pine-apple. Sculptured ornaments, pilasters.

Greek ornament—purely aesthetic. Forms derived from Egypt and Assyria. Conventional rendering. Representative forms. The zig-zag, wave scroll, and fret. The Echinus and Anthemion. Greek pottery.

Roman Ornament—an elaboration of the Greek. The scroll and acanthus. Animals and the Human form in Roman ornament.

Byzantine Ornament—its character. Symbolic forms—the lily, cross, and serpent. The Trefoil and Quatrefoil. Painting and sculpture. Mosaics. Development of antique types. Delicacy of treatment.

Arabian Ornament. Governing principle of Mahometan decoration, and circumstances favouring its development. Absence of symbolism and the exclusion of natural forms. Geometrical symmetry. Moresque ornament, its equal distribution, radiation, and continuity of line. Technical methods of decoration. Colouring of the Moors as illustrating fixed principles.

Romanesque Ornament. Imitation of Antique art. Human and Animal forms. Tracery. Painting on glass. Enamelling.

Gothic Ornament—its conventional character. Symbolism. The use of foliage, animals, and the human figure. Early English, its harmony with structural features. Tracery. Ornament of the Decorated period compared with Early English. Undue elaboration. Its defects and decline.

Renaissance Ornament—its origin and development. Scroll work and interlacings. Revival of classic forms. Arabesques and scroll. Painted and carved panels. Natural and conventional decoration of the Sixteenth century. Sculpture and painting. The Rococo style. False principles of decoration. Ornament of the present century.

Examinations in these subjects are held annually in December.

Syllabus of Subjects of Examination.

1.	Freehand.—Candidates will be required to enlarge an out line drawing of symmetrical ornament, without the aid of any kind of mechanical means of execution, such as ruling, &c., or the use of anything but pencil, paper, and indiarubber. One hour and a half is allowed for this exercise.
2.	Geometry—Plane—The construction and use of simple scales. Scale of chords, Diagonal scales. Elementary constructions required in geometrical pattern drawing and simple tracery. Construction of triangles and quadrangles. General methods for polygons. Irregular polygons from given angles, sides, and diagonals. Inscribed and circumscribed figures. Proportionals and areas. Elementary problems connected with the Ellipse. Solid—Plan elevation and section of the cube, pyramid, prism, sphere, cone, and cylinder, in simple positions. Projection of plane figures. The instruments required are a plain scale of inches divided into eighths, a pair of pencil compasses, two set squares, an H pencil and a piece of indiarubber. A drawing board and T square, although not indispensable, are very desirable. One hour is allowed for this exercise. page 25
3.	Perspective.—Students will be required to show a know ledge of the use of vanishing and measuring points used in horizontal planes, and to represent simple solids or objects on the ground plane in any position. The instruments required are the same as for geometry. One hour and a half is allowed for this exercise.
4.	Model.—The exercise in this subject consists of drawing from a group of three or more geometrical models and simple vases, single objects of household furniture, or domestic utensils of well defined form. The candidate is expected to show a knowledge of the effect of perspective in modifying the appearance of the models, and may estimate their apparent relative size by holding the pencil between the eye and the objects. No ruling or the use of instruments is allowed in working this exercise. One hour is allowed for this exercise.
5.	Blackboard.—This exercise is intended to test the candidate's power to use, in aid of their general teaching, the skill which they have obtained in drawing. In addition to facility in the use of chalk and the blackboard, it is required that they shall be able to give a fair representation of the form of any familiar object. Candidates will therefore be required to draw from memory, one of three or four objects of ordinary household furniture, or domestic utensils of well defined form, to be named by the examiner. Candidates will also be required to draw Roman or Italic letters, about nine inches high. Fifteen minutes are allowed for this exercise.

Candidates who pass in all the five subjects named above, obtain the 2nd Grade Certificate 1). Candidates may at their option take one, two, or all these subjects at the examination, and the subjects may be taken in any order.

This certificate is accepted by the Education Department, Wellington, as fulfilling the requirements, as regards drawing of the examination of teachers, for classification and certificates.

The "pass" standard for these examinations is the same as that of the 2nd grade, Art Examination, Science and Art Department of the Committee of Council on Education, South Kensington, London. Candidates who hold any of these certificates awarded by the above department subsequent to the year 1869, need not be re-examined in the same subjects,