originally determined in the form of consciousness, are made by
rhythmic alternation of attack, as it moves from point to point
creating diversions and recurrence.

The other study, although quite independent, is part a special
application and illustration of the same principle.

At the age of four or five, when they can do little more than
scribble, children's chief interest in pictures is as finished
products; but in the second period, which Lange calls that of artistic
illusion, the child sees in his own work not merely what it
represents, but an image of fancy back of it. This, then, is the
golden period for the development of power to create artistically. The
child loves to draw everything with the pleasure chiefly in the act,
and he cares little for the finished picture. He draws out of his own
head, and not from copy before his eye. Anything and everything is
attempted in bold lines in this golden age of drawing. If he followed
the teacher, looked carefully and drew what he saw, he would be
abashed at his production. Indians, conflagrations, games, brownies,
trains, pageants, battles--everything is graphically portrayed; but
only the little artist himself sees the full meaning of his lines.
Criticism or drawing strictly after nature breaks this charm, since it
gives place to mechanical reproduction in which the child has little
interest. Thus awakens him from his dream to a realization that he can
not draw, and from ten to fifteen his power of perceiving things
steadily increases and he makes almost no progress in drawing.
Adolescence arouses the creative faculty and the desire and ability to
draw are checked and decline after thirteen or fourteen. The curve is
the plateau which Barnes has described. The child has measured his own
productions upon the object they reproduced and found them wanting, is