respect. The development of thought carries with it the development
of skill, and this is clearly seen in the children's drawings, which
show good form and proportion, some knowledge of light and shade, a
delicate and refined perception of colour, and a wonderful power of
dealing with the difficulties of foreshortening. The central law is
self-effort,--confidence and self-reliance follow. The spontaneous
activities of the children are duly recognised, and the latter decide
what to draw, how to draw it, and the materials to be used. One
cannot remain long in the school without observing the absence of
that timidity, that haunting fear of making a mistake, which
paralyses the minds and bodies of so many of our children. Under the
influence of the Head Teacher the children become acute critics.
Her methods coincide so exactly with those which I have long been
advocating, that I give them in her own words--

"'I gave each child an ivy-leaf and said, "Now look well at it." We
talked about its peculiarities, looking at it all the time, and then
I told them to draw one, still looking back to the leaf from time to
time. Then I examined their drawings. A good many were, of course,
faulty. In those cases I did not say, "No, you are wrong; this is the
way," and go to the blackboard. I said, "In such and such a part is
yours the same as the leaf? What is different? How can you alter
it?" etc., etc. I make _them tell me_ their faults. There was no
blackboard demonstration.'

"From a careful examination of their work it is clear that the
children have not only been taught to draw, but that they love and
enjoy their drawing. Form and colour are not only seen, but
understood and felt. The children are impelled by an irresistible
desire to reach and express the truth, and are thus carried along
an ever-moving path of educative action."

I have already spoken of the love of visible beauty which is a
characteristic feature of the life of this school. It is in the
drawing lesson that this love of beauty has in the main evolved
itself. Other influences have no doubt been at work. Nature-study and
literature, for example, have, as taught in this school, done much to
foster the children's latent love of beauty; but had drawing never
been taught, the influence of those subjects would have been much
less effective than it has been. It is in the struggle to express
what he perceives that the Utopian child has gradually strengthened
and dee