In the case of many happy children the interest in the sounds of things, _e.g._, the gurgle of running water, the soughing of the trees, is a large one. An approach to æsthetic pleasure is seen in the responses to rhythmic series of sounds. Rhythm, it has been well said, is a universal law of life: all the activities of the organism have their regular changes, their periodic rise and fall. The rhythm of a simple tune plays favourably on a child's ear, enhancing life according to this great law. His ear, his brain, his muscles take on a new joyous activity, and the tide of life rises higher. Nursery rhymes, which, it has recently been suggested, should be banished, bring something of this joy of ordered movement, and help to form the rhythmic ear. With this feeling for rhythm there soon appears a discerning feeling for quality of tone. First of all, I suspect, comes the appreciation of moderation and smoothness of sound; it is the violent sounds which mostly offend the young ear. A child's preference for the mother's singing is, perhaps, a half reminiscence of the soft-low tones of the lullaby. Purity or sweetness of tone, little by little, makes itself felt, and a child takes dislikes to certain voices as wanting in this agreeable quality. Much later, in the case of all but gifted children, do the mysteries of harmony begin to take on definite form and meaning. The arts which give to the eye semblances or representations of objects appeal to a child much more through his knowledge of things. The enjoyment of a picture means the understanding of it as a picture, and this requires a process of self-education. A child begins to make acquaintance with the images of things when set before a mirror. Here he can inspect what he sees, say the reflection of the face of his mother or nurse, and compare it at once with the original. With pictures there is no such opportunity of directly comparing with the original, and children have to find out as best they may what the drawings in their picture-books mean. A dim discernment of what a drawing represents may appear early. A little boy was observed to talk to pictures at the end of the eighth month. A girl of forty-two weeks showed the same excitement at the sight of a life-size painting of a cat as at that of a real cat. Another child, a boy, recognised pictures of animals by spontaneously naming them "bow-wow," etc., at the age of ten months. The early recognition of pictured objects, of which certain animals have a measure, is often strikingly discerning. A child a little more than a year old has been known to pick out her father's face in a group of nine, the face being scarcely more than a quarter of an inch in diameter.