In 1865, the Brussels educational reformer Pierre Temples advocated to take drawing as the cornerstone of education. He criticized that education was modelled on conventions and grammatical rules in order to learn to read and write, this way ignoring the potential of drawing to create new concepts. This paper is also concerned with the significance of drawing in the realm of education. However, not to elaborate on its added value for education, but to discuss the mode of thinking that it seeks to disclose. The paper starts with a re-reading of two stories: Pliny the Elder's image of the origin of drawing and Viktor Lowenfeld's artistic developmental theory. This brings us to an understanding of the significance of drawing not as a pure sensory experience, nor as a cognitive one, but as a new gesture that marks the visual "as visual," to make it an object of thought. Unlike Temples, this contribution is not against grammar, but understands the act of drawing as a form of grammatisation in itself: i.e. a particular response to an event, which simultaneously enables us to visualize what confronts us. Hence, an ability to imagine and create new relationships with the world.