and it was illustrated by Mrs. Allingham. When it was published as a
book, the dedication to Miss Eleanor Lloyd told that many of the
theories on the up-bringing of girls, which the story contained, were
the result of the somewhat desultory, if intellectual, home education
which we had received from our Mother. This education Miss Lloyd had,
to a great extent, shared during the happy visits she paid us; when
she entered into our interests with the zest of a sister, and in more
than one point outstripped us in following the pursuits for which
Mother gave us a taste. Julie never really either went to school or
had a governess, though for a brief period she was under the kind care
of some ladies at Brighton, but they were relations, and she went to
them more for the benefit of sea breezes than lessons. She certainly
chiefly educated herself by the "thorough" way in which she pursued
the various tastes she had inherited, and into which she was guided by
our Mother. Then she never thought she had learned _enough_, but
throughout her whole life was constantly improving and adding to her
knowledge. She owed to Mother's teaching the first principles of
drawing, and I have often seen her refer for rules on perspective to
"My Childhood in Art,"[20] a story in which these rules were fully laid
down; but Mother had no eye for colour, and not much for figure
drawing. Her own best works were etchings on copper of trees and
landscapes, whereas Julie's artistic talent lay more in colours and
human forms. The only real lessons in sketching she ever had were a
few from Mr. Paul Naftel, years after she was married.

[Footnote 20: Included in "The Human Face Divine, and other Tales." By
Margaret Gatty. Bell and Sons.]

One of her favourite methods for practising drawing was to devote
herself to thoroughly studying the sketches of some one master, in