the culture city itself. Similarly in art, we no longer imitate nature, nor copy traditional designs. Art proper appears, shaping bronze and marble into images of the gods, and on a burnt and ruined hill-fort renewing the Parthenon. In general terms, instead of simply adjusting, as in the school, our mental picture to the outward facts, we reverse the process; and with a new art conception, be it good or bad, we transform the outward world, like wax under the seal. Thus from the [Page: 88] cloister and chapel of the musician, the studio-cell of the artist, the scriptorium of the poet, comes forth the architect, remodelling the city around his supreme material expression and home of its moral and material reorganisation, its renewed temporal and spiritual powers. Of this, the city proper, the Acropolis of Athens, the Temple of Jerusalem, the Capitol and Forum of Rome are classic and central examples, and in the mediaeval city, pre-eminently the cathedral; though beside this we must not forget the town house and its belfry, the guild houses, the colleges, the great place, the fountains, the city cross, and if last, still best if good at all, the streets and courts and homes. Returning once more to the history of educational development, we have here a means of unravelling the apparently perplexing history of universities. For the university past or present has but its foundations in the school, with its local and its general tradition, whatever may be the accordance of these with well-ascertained fact, its true novitiate can only be afforded in the cloister of reflection and research, of interpretation and synthesis; while for its full development it needs the perpetual renewal of that generous social life--that inspiring intercourse "of picked adolescents and picked senescents"--which has marked the vital periods of every university worthy of the name.