Then there is the instinct of making—the constructive impulse. The child’s impulse to do finds expression first in play, in movement, gesture, and make-believe, becomes more definite, and seeks outlet in shaping materials into tangible forms and permanent embodiment. The child has not much instinct for abstract inquiry. The instinct of investigation seems to grow out of the combination of the constructive impulse with the conversational. There is no distinction between experimental science for little children and the work done in the carpenter shop. Such work as they can do in physics or chemistry is not for the purpose of making technical generalizations or even arriving at abstract truths. Children simply like to do things and watch to see what will happen. But this can be taken advantage of, can be directed into ways where it gives results of value, as well as be allowed to go on at random. And so the expressive impulse of the children, the art instinct, grows also out of the communicating and constructive instincts. It is their refinement and full manifestation. Make the construction adequate, make it full, free, and flexible, give it a social motive, something to tell, and you have a work of art. Take one illustration of this in connection with the textile work—sewing and weaving. The children made a primitive loom in the shop; here the constructive instinct was appealed to. Then they wished to do something with this loom, to make something. It was the type of the Indian loom, and they were shown blankets woven by the Indians. Each child made a design kindred in idea to those of the Navajo blankets, and the one which seemed best adapted to the work in hand was selected. The technical resources were limited, but the coloring and form were worked out by the children. The example shown was made by the twelve-year-old children. Examination shows that it took patience, thoroughness, and perseverance to do the work. It involved not merely discipline and information of both a historical sort and the elements of technical design, but also something of the spirit of art in adequately conveying an idea. One more instance of the connection of the art side with the constructive side: The children had been studying primitive spinning and carding, when one of them, twelve years of age, made a picture of one of the older children spinning. Here is another piece of work which is not quite average; it is better than the average. It is an illustration of two hands and the drawing out of the wool to get it ready for spinning. This was done by a child eleven years of age. But, upon the whole, with the younger children especially, the art impulse is connected mainly with the social instinct—the desire to tell, to represent.