Jacotot, then, did not teach facts of which he was ignorant, except in the sense in which the parent who sends his boy to school may be said to teach him. All Jacotot did was to direct the pupil to learn, sometimes in a very awkward fashion, from somebody else.[180] § 8. 2. When we come to science, we find all the best authorities agree that the pupil should be led to principles if possible, and not have the principles brought to him. Men like Tyndall, Huxley, H. Spencer, J. M. Wilson have spoken eloquently on this subject, and shown how valuable scientific teaching is, when thus conducted, in drawing out the faculties of the mind. But although a schoolboy may be led to great scientific discoveries by anyone who knows the road, he will have no more chance of making them with an ignorant teacher than he would have had in the days of the Ptolemies. Here again, then, I cannot understand how the teacher can teach what he does not know. He may, indeed, join his pupil in investigating principles, but he must either keep with the pupil or go in advance of him. In the first case he is only a fellow-pupil; in the second, he teaches only that which he knows. § 9. Finally, we come to arts, and we are told that Jacotot taught drawing and music, without being either a draughtsman or a musician. In art everything depends on _rightly directed practice_. The most consummate artist cannot communicate his skill, and, except for inspiration may be inferior as a teacher to one whose attention is more concentrated on the mechanism of the art. Perhaps it is not even necessary that the teacher should be able to do the exercises himself, if only he knows how they should be done; but he seldom gets credit for this knowledge, unless he can show that he knows how the thing should be done, by doing it. Lessing tells us that Raphael would have been a great painter even if he had been born without hands. He would not, however, have succeeded in getting mankind to believe it. I grant, then, that the teacher of art need not be a first-rate artist, and, in some very exceptional cases, need not be an artist at all; but, if he cannot perform the exercises he gives his pupil, he must at least _know how they should be done_. But Jacotot claims perfect ignorance. We are told that he “taught” drawing by setting objects before his pupils, and making them imitate them on paper as best they could. Of course the art originated in this way, and a person with great perseverance, and (I must say, in spite of Jacotot) with more than average ability, would make considerable progress with no proper instruction; but he would lose much by the ignorance of the person calling himself his teacher. An awkward habit of holding the pencil will make skill doubly difficult to acquire, and thus half his time might be wasted. Then, again, he would hardly have a better eye than the early painters, so the drawing of his landscape would not be less faulty than theirs.