The lack of tactile experiences

The sense of touch is integral to the human experience. Tactile experiences give us a sense of depth and help make us aware of the extension to our environment. As babies, tactile experiences are the very first we encounter as we begin to navigate the world. There was a time when kids grew up with a more tactile experiences. Camping was a big thing, and was often associated with packing a knife or two, and maybe an axe. You learned to build fires, carve things, and dam creeks. It was just what you did. At home you may have built tree houses, or other things. Life was likely much simpler than it is now (mainly because there were no electronics). What one did learn was a respect for all things sharp. You got to know how to use a knife, either a pocket knife or a hunting knife to sharpen a stick, or cut through food. If you accidentally cut yourself, you learned the lesson and moved on. You learned that these things were extensions to your hands. They were tactile experiences. Even the task of making fire – you learned the danger of fire, and how it should be handled properly. There was never any issue with hurting yourself seriously because you respected the sharp and hot things. Sure we hurt ourselves, but that was part of growing up. A knife that accidentally got too close, usually because we weren’t using it properly.

Works exhibited at the Philadelphia Bourse, 1897. The two desks were carved by grammar grade students. From New Methods in Education, p.270 (1901)

One of the problems with society today is that everything is considered dangerous – even pocket knives, or metal playground swings. We have succeeded in raising many children who have no clue how to manipulate a knife, or whittle a stick. Unimportant you say? Technology is more important! But here’s the thing, in a survival situation unprepared people just panic. They have no clue how to build a shelter, how to find food, how to chop wood. When the power goes out, we are essentially sent back to the dark ages, and electronics will not help you. It is tactile experiences that have paved the way for our thousands of years of success, but we can and should not merely brush them aside. Tactile crafts improve hand-eye coordination more than any video game ever will because they are real, and three-dimensional. Building a model airplane or ship, or even drawing will do way more for your tactile skills than any simulated experience. It will also teach patience, and how to undertake fine, intricate work.

Ultimately making things with your hands probably makes you smarter.

Aristotle said “The hand is the instrument of instruments, and the mind is the form of forms.” Surely we must give some real and fundamental training to the hand. Surely we must give some real and fundamental training to the hand. This hand skill is to be acquired by all, not because they are to work, but because they cannot afford to be without a training that makes brain co-ordinations form sense connections, and therefore aids or makes intelligence, reason, imagination and judgment in the shortest way. This hand skill is requisite, not necessarily to enable its possessors to become artists or artisans – though possessing art skill and capacity through esthetics is essential to complete culture, and this is the side usually to be considered – beauty acted.

J. Liberty Tadd, New Methods in Education, p.39 (1901)

❄︎ James Liberty Tadd ran the Public Industrial Art School of Philadelphia (which operated from 1880-1916). His book, New Methods in Education, is divided into a number of sections, each dedicated to some element of his teaching philosophy. The first portion deals with students learning manual-training drawing, original design, and creative drawing. He then transitions to modelling in clay and wax, and finally wood carving. In this way the hand becomes skilful, the eye trained to artistic excellence, and the mind taught to work with hand and eye.

Workbenches in art (ii) – Carracci

The painting of Millais bears some resemblance to other works, most notably The Holy Family in the Carpenter’s Shop by Italian painter Annibale Carracci (1560-1609). Also known as Le Raboteur (The Planer), the work likely dates from the late 16th century. Although Millais’s work is set indoors, and Carracci’s outdoors, the general composition is similar. Carracci’s work sets the tone for the period, although “carpenter’s shop” seems a little generous given that the workshop seems outside.

The image represents the Holy Family undertaking their daily work. St.Joseph is tracing a line on a board, assisted by a young Jesus. Mary is seen on the right sewing, nearby is a basket containing various objects for work. In front of the bench is a chest, against which stands a joiner’s plane which provides us with the title of the picture Le Raboteur .

Annibale Carracci, Le Raboteur (late 16th C.)

The workbench in Le Raboteur is similar to many of the staked benches found during the period, direct descendants of the Roman era staked benches. A good example is the staked workbench drawn by Martin Löffelholz in 1505. It turns out there were many renditions of Carracci’s work. An early print titled Conclave Triadis humanae appeared in 1670 by engraver Jean Pesne. A sketch from 1811 made by British artist Henry Bone and titled “Holy Family in the Carpenter’s Shop “.

Pesne, Conclave Triadis humanae (1670)
Bone, Holy Family in the Carpenter’s Shop (1811) National Portrait Gallery (NPG D17484)

Jacques Couché produced an engraved copy of Le Raboteur in Volume 1 of Galerie du Palais Royal, published in 1786. In 1831 a copy appeared in Musée de Peinture et de Sculpture, Volume XI (Museum of Painting and Sculpture) – No.763 Sainte Famille, dite Le Raboteur (The Holy Family, called, Le Raboteur). It’s hard to know why this particular piece of art was so popular.

Couché, Sainte Famille (etching, 1786)(The British Museum, CC BY-NC-SA 4.0)
Couché, Sainte Famille, dite Le Raboteur (1831)

Rembrandt had his own version of Joseph’s carpenter’s shop, circa 1645, “The Holy Family in the Carpenter’s Workshop”. Another painting with a similar title, “The Holy Family in the Carpenter’s Shop” is attributed to French painter Jean Tassel (1608-1667) – here the bench is thigh-height, with a substantial solid beam top (which is not squared), and splayed legs, each pair of which has a stretcher. This bench may actually be closest to resembling the staked Roman benches of the period.

Rembrandt, The Holy Family in the Carpenter’s Workshop (1645)
Tassel, The Holy Family in the Carpenter’s Shop (1600s)

Further reading:

  1. Albert Boime, “Sources for Sir John Everett Millais’s ‘Christ in the House of His Parents’