There are various kinds of accuracy, each of which has its own importance. To take the main kinds: There is muscular accuracy, æsthetic accuracy, accuracy as to matter-of-fact, and logical accuracy. Every boy or girl can appreciate the importance of muscular accuracy in many directions; it is required for the control of the body which a healthy child spends all its spare time in acquiring, and afterwards for the games upon which prestige depends. But it has other forms which have more to do with school-teaching, such as well-articulated speech, good writing, and correct performance on a musical instrument. A child will think these things important or unimportant according to his environment. Æsthetic accuracy is difficult to define; it has to do with the appropriateness of a sensible stimulus for the production of emotion. One way of teaching an important form of it is to cause children to learn poetry by heart--_e.g._, Shakespeare, for purposes of acting--and to make them feel, when they make mistakes, why the original is better. I believe it would be found that, where æsthetic sensibility is wide-spread, children are taught conventional stereotyped performances, such as dances and songs, which they enjoy, but which must be done exactly right on account of tradition. This makes them sensitive to small differences, which is essential to accuracy. Acting, singing, and dancing seem to me the best methods of teaching æsthetic precision. Drawing is less good, because it is likely to be judged by its fidelity to the model, not by æsthetic standards. It is true that stereotyped performances also are expected to reproduce a model, but it is a model created by æsthetic motives; it is copied because it is good, not because copying is good. Accuracy as to matter-of-fact is intolerably boring when pursued on its own account. Learning the dates of the kings of England, or the names of the counties and their capitals, used to be one of the terrors of childhood. It is better to secure accuracy by interest and repetition. I could never remember the list of capes, but at eight years old I knew almost all the stations on the Underground. If children were shown a cinema representing a ship sailing round the coast, they would soon know the capes. I don’t think they are worth knowing, but if they were, that would be the way to teach them. All geography ought to be taught on the cinema; so ought history at first. The initial expense would be great, but not too great for governments. And there would be a subsequent economy in ease of teaching.