Directions.-Close the hand without changing position of the wrist, which should be neither lowered nor raised. The hand should now be held clear of the desk, the weight of the arm resting lightly on the bunch of muscles in front of the elbow-joint. See CUT No. 6.

THIRD POSITION

Without changing from second position make the direct movement as illustrated by CUT No. 5. Use the muscles of the shoulder in conjunction with shoulder and elbow joints, working the arm back and forth on a line with the direction of the forearm, pushing out and drawing in, but without sliding the sleeve.

The sleeve in this movement should remain as station

CUT No.4.-Showing hand closed and slightly elevated from desk; arm lightly balanced on muscles near elbow. The hand should be closed tightly, and the muscles of hand and arm must be entirely relaxed.

ary as if glued to the desk, while the wrist works out and in, impelled freely by the action of the shoulder muscles. The action of the arm is the movement which would straighten it if the motion was unrestricted by the rest on the desk.

The simple motion of the entire arm thus produced on a line with the forearm is the key to all subsequent movements, and must be practised daily until the action of the muscles brought into play becomes easy and natural. The vibration of the muscular rest in this movement will carry the hand back and forth a distance of from one-half inch to three inches without sliding the sleeve, varying according to the natural formation of the arm and amount of practice; but it will be found that beginners can materially increase the range of movement by systematic drill.

HOW TO EXPLAIN MUSCULAR MOVEMENT

A correct idea of the vibratory action of the forearm muscles is obtained by grasping the right arm with the left hand, as before indicated, firmly on the inside just below the elbow; then, holding this hand stationary, work the hand back and forth on the direct movement, the wrist moving in and out of the sleeve. This action

CUT No. 5.-Showing action of hand and forearm, working back and forth, in direct line, but without sliding the sleeve. This action produces the developing movement which is the correct basis of all others.

will show how the muscle-layers by slipping over each other produce what is called muscular movement.

CLASS DRILLS

After the pupils have learned to take the three positions at command, and are able to make the direct movement freely, begin the regular movement drills as follows:-2d position; 3d position; ready; one-twothree (repeat). Draw the arm back quickly at each

CUT No. 6.-Showing muscular rest on forearm near elbow.

CUT No. 7.-Illustrating position and pen-holding. Holder between first and second fingers and thumb, crossing first finger in front of knuckle-joint, and second finger at the root of nail; end of thumb opposite the first

joint of forefinger. Third and fourth fingers separated from the other two, and bent inward equally at the three joints; keep entirely relaxed and resting almost flat on the nails. Keep hand and arm perfectly flat, with holder pointing at the head. End of second finger not to exceed one-half inch above the desk. This cut shows the simultaneous action of pen-point and finger-rest in forming oval or straight line movements. The arm should form a right-angle at the elbow. Wrist elevated above the desk.

count, but without sliding the sleeve, counting 150 per minute. Continue for one minute without stopping. Rest one minute, relaxing arm and hand. Repeat this drill twice daily, not less than 10 minutes each time, paying strict attention both to the position and to the character of the movement produced. See that the arm rests lightly.

FOURTH POSITION

You may now have the class take the several positions in regular order, as explained in the last lesson; and for the Fourth Position, place the hand as in CUT No. 11. This may be called forming the hand, and is an important part of the drill. With scarcely an exception, pupils when learning script will have acquired cramped and unnatural positions in pen-holding. It will also be found that these wrong positions have by association become inseparable from the act of forming letters. The first step, then, should be to disconnect the new position and movements from the writing itself, to train the hand into a correct position independently of the pen-holding. During the first year in school it is better not to attempt pen- or pencil-holding in connection with movement exercises, but by aiming to conform the habit of correct position, secure the ability to hold and use the pen effectively in the higher grades. But in any grade where this method is being

introduced, the same rule should be observed at the

CUT No. 8.-Showing how the hand and pen-holder should appear when the pupil is facing the teacher. When the arm and hand are kept flat on the desk the holder will naturally cross the ruled lines obliquely, or on the regular writing slant. When practising with the pen, what was called the direct movement in Lesson II., and which was made on a line with the forearm, should now be modified, and made in the oblique direction towards the head. This is indicated by the line shown in cut.

beginning. Drill a great deal without the pen, and with a dry pen; get all the range of action you possibly can; and that which is to follow will come not only naturally, but easily. Do not be in any hurry to practise writing. There will be ample time for that after the movement to do it with has been secured. Faithfully and intelligently carried out there can be no such thing as failure with this plan of teaching. From the Fourth Position, CUT No. 11, make the modified direct movement towards the head on the writing slant, as explained under CUT No. 8. Count for this movement