To understand the way in which she gave fresh life, and gradually refashioned the methods she found, it is necessary to go back to the prehistoric days before her arrival in 1858. There is little record of the educational system and teaching of that period, but it is certain that both were liberal and thorough, free from narrowness and petty tyranny, in advance of those existing in the ordinary boarding-school of the day. The curriculum, it is noteworthy, was arranged with a view to developing the mind and character. Latin was taught at first ‘very thoroughly,’ and the change by which after the first year it was replaced by German, which the Lady Principal could teach, was a question of economy, not of conciliation of parents who might think dead languages useless subjects of study. In making the substitution it was hoped, so runs the report of 1856, that instruction in German ‘might be made equally instrumental with that in the Latin language for conveying an accurate, exact, and logical knowledge of the principles of general Grammar. In this impression (your Council) find ... that they have not been mistaken.’ This attitude with regard to German was no new idea to Miss Beale, and she pursued the aims of the founders when she made the language a necessary subject of study for all pupils above the lower classes. Latin she discouraged, except in the case of those who were near the top of the College, maintaining that girls of seventeen and eighteen could learn in a few months as much Latin as would absorb the greater part of a boy’s whole time at school. On the question of music the founders had shown themselves out of sympathy with the fashionable practice of a day when every ‘young lady’ was expected to perform on the piano, every governess to teach it. They conceded so far as to include music in the regular curriculum, but the expense of providing the requisite number of teachers and pianos for so many pupils was heavy. To meet this a system of class instruction was devised, by which the teacher gave a lesson to four pupils at once, the same piece being performed simultaneously on the treble and bass of two pianos. Whether such an arrangement was conducive to the production of good music or the formation of taste may be doubted. It suggests, indeed, a certain irony in those who hit upon a scheme that might just satisfy a foolish popular demand, assured that any who really cared for music would not grudge payment to the good teachers provided for the extra classes. The music difficulty occupies some space in the early reports which, in somewhat stilted and solemn fashion, set forth new ideals for the education of the ‘fairer sex.’ The following is quoted from the report of February 1856:—