training of her mind; great electric trains loom wonderfully round corners, go droning by, spitting fire from their overhead wires; great shop windows display a multitudinous variety of objects; men and women come and go about a thousand businesses; a street-organ splashes a spray of notes at her as she passes, a hoarding splashes a spray of colour. The shape and direction of one’s private observation is no more the schoolmaster’s business than the shape and direction of one’s nose. It is, indeed, possible to certain gifted and exceptional persons that they should not only see acutely, but abstract and express again what they have seen. Such people are artists--a different kind of people from schoolmasters altogether. Into all sorts of places, where people have failed to see, comes the artist like a light. The artist cannot create nor can he determine the observation of other men, but he can, at any rate, help and inspire it. But he and the pedagogue are temperamentally different and apart. They are at opposite poles of human quality. The pedagogue with his canon comes between the child and Nature only to limit and obscure. His business is to leave the whole thing alone. If the interpretation of nature is a rare and peculiar gift, the interpretation of art and literature is surely an even rarer thing. Hundreds of schoolmasters and schoolmistresses who could not write one tolerable line of criticism, will stand up in front of classes by the hour together and issue judgments on books, pictures, and all that is comprised under the name of art. Think of it! Here is your great artist, your great exceptional mind groping in the darknesses beneath the surface of life, half apprehending strange elusive things in those profundities, and striving--striving sometimes to the utmost verge of human endeavour--to give that strange unsuspected mystery expression, to shape it, to shadow it in form and wonder of colour, in beautiful rhythms, in phantasies of narrative, in gracious and glowing words. So much in its essential and precious degree is art. Think of what the world must be in the wider vision of the great artist. Think, for example, of the dark splendours amidst which the mind of Leonardo clambered; the mirror of tender lights that reflected into our world the iridescent graciousness of Botticelli! Then to the faint and faded intimations these great men have left us of the things beyond our scope, comes the scholastic intelligence, gesticulating instructively, and in too many cases obscuring for ever the naive vision of the child. The scholastic intelligence, succulently appreciative, blind, hopelessly blind to the fact that every great work of art is a strenuous, an almost despairing effort to express and convey, treats the whole thing as some foolish riddle--“explains it to the children.” As if every picture was a rebus and every poem a charade! “Little children,” he says, “this teaches you”--and out comes the platitude!