The histor,y of art education has few authorities. There ie no histor,y of drawing in educational praotice, and there is no examination of the comparative modes of drawing used in this area. This dissertation is an attempt to partly offset this lack. It is a descriptive and analytically historical stu~ of drawing in education in the 19th and 20th centuries in England, with especial reference to drawing from memory. Three models of educational theor,y are ereeted and analysed, those of Humanism, Empiricism and Progressivism, and these are used as invariables by which to examine the changing emphases within the beliefs and practices of art e~cators. Within these oontexts, the influences of three areas are studied for their connections with art education and its components, drawing and memory drawing. These are: a) The practice and theory of artists. b) The findings of psychology. c) The prevailing ethos of general educational theory and practice. The conclusions drawn are used to examine the rol e of drawing and memory drawing in art education, at the levels of junior, secondary and tertiary education. Whilst the use of the visual memory is present in all drawing activity and this feature is studied, more attention is directed towards pedagogical intervention and the methods and aims of such teaching. Coniusion between theory an~ practice is a common occurrence, as is its corollary, the application of inappropriate criteria to lesson products. The demise of formally taught examples of memory drawing is studied, reasons are proffered and discussion held as to whether this is a necessary condition for the subject. The possibility of reinstating memory drawing is Been as dependent upon a conscious moderation of the influence of the educational models in terms of: a) The educational needs of teacher, taught and discipline. b) The artistic values of object, idea, memory and medium.