fidelity--fidelity to _feeling_ rather than to _fact_ (if I may speak for the moment in the delusive language of dualism)--begins to weave itself into his artistic consciousness. If there is any school in England in which fidelity to feeling has evolved itself out of fidelity to fact, that school is in the village of Utopia. Some ten or twelve years ago a decree went out from Whitehall that Drawing was to be taught in all the elementary schools in England. Egeria at once took the children into her confidence, and said to them: "You have now got to learn to draw: you don't know how to draw, and I don't know how to draw, but we must all set to work and see what we can do." A few years later the school was visited by the inspector to whose zeal as a prophet, and skill as an expositor and teacher, the transformation in the teaching of drawing which is gradually taking effect in all parts of the country, has been largely due. Here is the report[18] that he wrote after his visit-- "In this school the teaching of Drawing reaches the highest educational level I have hitherto met with in our elementary schools, and the results are the genuine expression of the children's own thoughts. Flat copies are not used, and the scholars evolve their own technique, for the Head Teacher is not strong herself in this respect. The development of thought carries with it the development of skill, and this is clearly seen in the children's drawings, which show good form and proportion, some knowledge of light and shade, a delicate and refined perception of colour, and a wonderful power of dealing with the difficulties of foreshortening. The central law is self-effort,--confidence and self-reliance follow. The spontaneous activities of the children are duly recognised, and the latter decide what to draw, how to draw it, and the materials to be used. One cannot remain long in the school without observing the absence of that timidity, that haunting fear of making a mistake, which paralyses the minds and bodies of so many of our children. Under the influence of the Head Teacher the children become acute critics. Her methods coincide so exactly with those which I have long been advocating, that I give them in her own words-- "'I gave each child an ivy-leaf and said, "Now look well at it." We talked about its peculiarities, looking at it all the time, and then I told them to draw one, still looking back to the leaf from time to time. Then I examined their drawings. A good many were, of course, faulty. In those cases I did not say, "No, you are wrong; this is the way," and go to the blackboard. I said, "In such and such a part is yours the same as the leaf? What is different? How can you alter it?" etc., etc. I make _them tell me_ their faults. There was no blackboard demonstration.'