and many other simple stories, and in every instance there was a
noticeable degree of spontaneity and command of expression.

When the reading classes were held, the influence of this work was very
visible. It had crept into the teachers' method, as well as the children's
attitude. The story interest was still paramount. In the discussion, in
the teachers' remarks, and in the actual reading, there was a joyousness
and an interest in the subject-matter which totally precluded that
preoccupation with sounds and syllables so deadly to any real progress in
reading. There was less of the mechanical in the reading than in any I had
heard in my visits to schools; but it was exceptionally accurate.

The second form of giving back which has proved a keen pleasure and a
stimulus to growth is a kind of "seat-work." The children are allowed to
make original illustrations of the stories by cutting silhouette pictures.

It will be readily seen that no child can do this without visualising each
image very perfectly. In the simplest and most unconscious way possible,
the small artists are developing the power of conceiving and holding the
concrete image of an idea given, the power which is at the bottom of all
arts of expression.

Through the kindness of Miss Sweeney, I am able to insert several of these
illustrations. They are entirely original, and were made without any
thought of such a use as this.

The pictures and the retelling are both popular with children, but neither
is as dear to them as the third form of reproduction of which I wish to
speak. This third kind is taken entirely on the ground of play, and no
visibly didactic element enters into it. It consists simply of _playing