pened his perceptive powers, till his sight has transformed
itself into insight, and form and colour have come to be interpreted
by him through the medium of the beauty which is behind them,--his
feeling of beauty having, little by little, been awakened and evolved
by his unceasing efforts to interpret the _vraie verite_ of form and
colour, which, as he now begins to learn, are beauty's outward self.

(4) _The Musical Instinct_.

In the development of the artistic sense the path of imitation is
followed until it leads at last to heights which it cannot scale. The
development of the musical sense takes from the first a widely
different path. Nature has a beautiful music of her own, but the
child seldom attempts to imitate this. Music belongs to the soul even
more than to the outward world. So at least one feels disposed to
think. But perhaps it is more correct to say that in the presence
of music the provisional distinction between inward and outward,
between the soul and the surrounding world, becomes wholly effaced.
Expression is always the counterpart of perception; and we may rest
assured that the deep, subtle, and elusive feelings to which music
gives utterance have reality for their counterpart. The musician does
not often reproduce in his compositions the audible sounds of the
outward world,--the voices of animals, the songs of birds, the rustle
of leaves, the murmur of the sea, the sighing of the breeze, the
thunder of the storm. What he does reproduce is the music that awakes
in his soul when the emotions which these sounds kindle begin to
struggle for expression,--the music that is behind all the audible
sounds, and perhaps also behind all the inaudible vibrations of
Nature,--the music that is in his heart because it is also at the
heart of Nature,--_the rhythm of the Universe_, as one may perhaps
call it for lack of a fitter phrase. It is the sense of this rhythm
which inspires the great Composer when he builds up his masterpieces.
It is the sense of this rhythm which inspires the child when, in the
joy of his heart, he breaks spontaneously into dance and song. To
bring the rhythm of the Universe into the daily life of the child,
to give free play to his instinctive sense of its all-pervading
presence, is one of the highest functions of the teacher. And the
more carefully the sense of rhythm is cultivated, the more does it
tend to spiritualise itself, and the more profound and more vital is
the life which