discouraged and dislikes drawing. From twelve on, Barnes found drawing
more and more distasteful; and this, too, Lukens found to be the
opinion of our art teachers. The pupils may draw very properly and
improve in technique, but the interest is gone. This is the condition
in which most men remain all their lives. Their power to appreciate
steadily increases. Only a few gifted adolescents about this age begin
a to develop a new zest in production, rivaling that of the period
from five to ten, when their satisfaction is again chiefly in
creation. These are the artists whose active powers dominate.

Lukens[3] finds in his studies of drawing, that in what he calls his
fourth period of artistic development, there are those "who during
adolescence experience a rebirth of creative power." Zest in creation
then often becomes a stronger incentive to work than any pleasure or
profit to be derived from the finished product, so that in this the
propitious conditions of the first golden age of childhood are
repeated and the deepest satisfaction is again found in the work
itself. At about fourteen or fifteen, which is the transition period,
nascent faculties sometimes develop very rapidly. Lukens[4] draws the
interesting curve shown on the following page.

[Illustration: Motor, creative or productive power. Sensory or
receptive interest in the finished product.]

The reciprocity between the power to produce and that to appreciate,
roughly represented in the above curve, likely is true also in the
domain of music, and may be, perhaps, a general law of development.
Certain it is that the adolescent power to apperceive and appreciate
never so far outstrips his power to produce or reproduce as about
midway in the teens. Now impressions sink deepest. The greatest