For let me state clearly in concluding this comment on a new method, that I am, myself, as strong an advocate for free expression, rightly understood, as any propagandist in the United States of America. But I am convinced by long observation and experiment that the untrained child has not the adequate power of free expression. There are certain mechanical and other laws, deduced from untold centuries of human experience, laws that are only in the rarest cases unconsciously followed by the natural child of to-day. (One of these rare cases that has recently come under my notice has been the billiard playing of Mr. George Gray. I am of the opinion that the mechanical principle of the position adopted by him could be scientifically demonstrated as being as nearly perfect for its particular purpose as any position could be. And according to my observation of him, Mr. Gray manifests in his play the most remarkable and controlled kinæsthetic development I have yet witnessed. But how many George Grays has the world so far produced?) Over twenty-two years ago in Australia, I was teaching what I still believe to be the true meaning of free expression. My pupils in this case came to me for lessons in vocal and dramatic expression. Now by the old methods these pupils would have been taught to imitate their master very accurately in vocal and facial expression, in gesture, in the manner of voice production; and it would have been at once apparent to any one acquainted with the manner and methods of the teachers, where each pupil had received his training. Furthermore, pupils educated by those methods were taught to interpret each poem, scene, or passage on the exact lines that were considered correct by their respective teachers. My own method, which at that time was regarded as very radical and subversive, was to give my pupils certain lessons in re-education and co-ordination on a basis of conscious guidance and control, and in this way I gave the reciter, actor, or potential artist the means of employing to the best advantage his powers of vocal, facial, and dramatic expression, gesture, etc. He could then safely be permitted to develop his own characteristics. A few suggestions might be necessary as to interpretation, but the individual manner was his own. No pupil of mine could be pointed to as representing some narrow school of expression, although most of them could be recognised by the confidence and freedom of their performances.