Howard Pyle, a chronicle by Charles D. Abbott, with an introduction by N. C. Wyeth and many illustrations from Howard Pyle's works.

SCHOOLS AND THEORIES OF ART
shall possess, first of all, imagination; secondly, artistic
ability; thirdly, color and drawing; and I shall probably
not accept any who are deficient in any one of these three
requisites. It is needless for me to say that my opinions
as to the requisites of color and form may not be the same
as, those entertained by the art schools..*a
"My instruction. 0. would embrace not only daily
criticism of the work done in the class, but also instruction
in composition, Facial and Figure Construction, Anatomy,
Perspective, and Proportion. I shall give lectures perhaps
twice a week in the evenings.. 0.0 )
The school was accordingly founded. Nearly all of the
first members were from the old class at the Drexel Institute, but gradually, as people heard of the new idea that
was being worked out in Wilmington, there began to be
applications for admission from all over the United States.
In 1903, there were between two and three hundred such
applications, but only three of the aspirants were admitted.
Howard Pyle used the utmost discrimination in making his
choices. Among the young men and women who attended
the school were Stanley Arthurs, Frank Schoonover, N. C.
Wyeth, Harvey Dunn, Thornton Oakley, Ida Daugherty,
W. J. Aylward, and George Harding, each of whom has
since done commendable work in the field of art.
In 1904, Howard Pyle again began to feel that he ought
to be passing on the fruits of his knowledge to a greater
body of young people than it was possible for him to have
around him in Wilmington. He explains what he wanted
to do in the following letter to J. H. Chapin, the art editor
of Scribuer's Monthly:
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