3. Do you like this scarf? This cushion? This picture? Why? Why not? Why is there some disagreement? To what extent can our likes guide our choices?
4. The class may be asked to choose from a number of vases, lamp shades, table covers, or candles those which they think are most beautiful. The question may then be asked, "Would you like to find out what makes some articles more beautiful than others?"
5. Where in nature are the brightest spots of color found? Have you ever seen combinations of color in nature that were not pleasing? How may we make better use of nature's examples?
6. Why do girls and women prefer to go to the store to select dresses or dress material? Hats? Coats? Can one always be sure of the most becoming thing to buy even when shopping in person? What would be helpful in making selections?
The classroom setting for the teaching of art plays a very important part in arousing interest. Attempting to awaken interest in art in a bare, unattractive room is even more futile than trying to create interest in better table service with no table appointments. In the first situation there is probably such a wide variation in the background and experience of the pupils and in their present ability to observe the beautiful things of their surroundings that it becomes increasingly important that the teacher provide an environment which is attractive and inviting. In the second situation the pupils have had experience with the essential equipment in their own homes and so can visualize to some extent the use of that equipment at the table. Bobbitt[ 18] says—
One needs to have his consciousness saturated by living for years in the presence of art forms of good quality. The appreciations will grow up unconsciously and inevitably; and they will be normal and relatively unsophisticated. As a matter of fact, art to be most enjoyed and to be most serviceable, should not be too conscious.