patterns, all developed a far greater intelligence in general thought
and conversation than others. They had at least one topic on which
they could converse intelligently with any grown-up person, and in
which they were really superior to most. They soon found this out. I
have often been astonished in listening to their conversation among
themselves to hear how well they discussed art. They all well knew at
least one thing, which is far from being known among æsthetes in
London, which is that in Decorative Art, however you may end in all
kinds of mixtures of styles, you must at least begin with organic
development, and not put roots or flowers at _both_ ends of a branch
or vine.

The secret of it all is that those who from an early age develop the
constructive faculty (especially if this be done in a pleasing, easy
manner, with agreeable work) also develop with it the Intellect, and
that very rapidly to a very remarkable degree. There are reasons for
this. Drawing when properly taught stimulates visual perception or eye
memory; this is strikingly the case when the pupil has a model placed
in one room, and, after studying it, goes into another room to
reproduce it from memory. Original design, which when properly taught
is learned with incredible ease by all children, stimulates
observation to a remarkable degree. The result of such education is to
develop a great general quickness of perception and thought.

Now, be it observed, that if anyone desires to learn design or any
art, it may be greatly facilitated by the application to it of Will
and Foresight, and in the beginning, Self-Suggestion. He who
understands the three as one, sees in it a higher or more energetic
kind of self-discipline than most people practise. In the end they
come to the same as a vigorous effort of the Will.