These evidences of an impulse to look on correction as a quite proper thing are corroborated by stories of self-punishment. Here is an example: A girl of nine had been naughty, and was very sorry for her misbehaviour. Shortly after she came to her lesson limping, and remarked that she felt very uncomfortable. Being asked by her governess what was the matter with her she said: "It was very naughty of me to disobey you, so I put my right shoe on to my left foot and my left shoe on to my right foot". The facts here briefly illustrated seem to me to show that there is in the child from the first a rudiment of true law-abidingness, which exists side by side and struggles with the childish love of liberty and rebelliousness. And this is a force of the greatest consequence to the disciplinarian. It is something which takes side in the child's breast with the reasonable governor and the laws which he or she administers. It secures in many cases, at least, a ready compliance with a large part of the discipline enforced. CHAPTER XI. AT THE GATE OF THE TEMPLE. One of the most interesting phases of a child's activity is its groping after what we call art. Although a decided bent towards some special form of our art may be rare among children, most of them betray some rudiment of a feeling for beauty and of an impulse to produce it. It will be well to begin by glancing at the responses of children to the various presentations of beauty in nature and art, and then to examine their attempts at artistic production. _The Greeting of Beauty._ In looking in a young child for responses to the beauty of things, we must not, of course, expect a clear appreciation of its several phases. Here our aim will be to collect evidences of a natural feeling which may afterwards under favourable conditions grow into a discerning taste. Even in infancy we may detect in the movements of the arms, the admiring cooing sounds, this greeting of nature's beauty as of something kindred. In the home interior it is commonly some bit of bright light, especially when it is in movement, which first charms the eye of the novice; the dancing fire-flame, for example, the play of the sunlight on a bit of glass or a gilded frame, the great globe of the lamp just created. In some cases it is a patch of bright colour or a gay pattern on the mother's dress which calls forth a full vocal welcome in the shape of baby "talking". In the out-of-door scene, too, it is the glitter of the running water, or a meadow all white with daisies, which captivates the glance. Light, the symbol of life's joy, seems to be the first language in which the spirit of beauty speaks to a child.