which were contained in one of her series of papers entitled "Mother Lore." The theory of the new classes was co-operation. That is, the members successively, turn by turn, lectured on the topic, and all were expected to study in the interim so as to be able to ask questions and discuss the views of the lecturer. Concerning both Italian and Grecian Art and the Governments of Civilization, Selma knew that she had convictions in the abstract, but when she found herself face to face with a specific lecture on each subject, it occurred to her as wise to supplement her ideas by a little preparation. The nucleus of a public library had been recently established by Joel Flagg and placed at the disposal of Benham. Here, by means of an encyclopædia and two hand-books, Selma was able in three forenoons to compile a paper satisfactory to her self-esteem on the dynasties of Europe and their inferiority to the United States, but her other task was illumined for her by a happy incident, the promise of Littleton to lend her books. Indeed he seemed delightfully interested in both of her classes, which was especially gratifying in view of the fact that Mrs. Taylor, who was a member of the Institute, had combated the new programme on the plea that they were attempting too much and that it would encourage superficiality. But Littleton seemed appreciative of the value of the undertaking, and he made his promise good forthwith by forwarding to her a package of books on art, among them two volumes of Ruskin. Selma, who had read quotations from Ruskin on one or two occasions and believed herself an admirer of, and tolerably familiar with, his writings, was thrilled. She promptly immersed herself in "Stones of Venice" and "Seven Lamps of Architecture," sitting up late at night to finish them. When she had read these and the article in the encyclopædia under the head of Art, she felt bursting with her subject and eager to air her knowledge before the class. Her lecture was acknowledged to be the most stirring and thorough of the course.