decent attempt to draw, and an extreme expressiveness in music
compensates for an almost deliberate slovenliness of technique. Even
the ladies' seminaries of the Georgian days could scarcely have
produced a parallel to the miscellaneous incapacity of the victim of
these "modern" schools, and it becomes daily more necessary for those
who have the interests of education at heart to disavow with the most
unmistakable emphasis these catch-parent impostures.

With the other subjects under the headings of _A_ and _B_, it
is not necessary to deal at any length here. Drawing begins at home,
and a child should have begun to sketch freely before the formal
schooling commences. It is the business of the school to teach drawing
and not to teach "art," which, indeed, is always an individual and
spontaneous thing, and it need only concern itself directly with those
aspects of drawing that require direction. Of course, an hour set aside
from the school time in which boys or girls may do whatever they please
with paper, ink, pens, pencils, compasses, and water-colour would be a
most excellent and profitable thing, but that scarcely counts (except
in the Quack Schools) as teaching. As a matter of fact, teaching
absolutely spoils all that sort of thing. A course in model drawing and
in perspective, however, is really a training in seeing things, it
demands rigorous instruction and it must be the backbone of school
drawing, and, in addition, studies may be made from flowers that would
not be made without direction: topography (and much else) may be learnt
by copying good explicit maps; chronology (to supplement the child's
private reading of history) by the construction of time charts; and
much history also by drawing and colouring historical maps. With
geometrical drawing one passes insensibly into mathematics. And so much
has been done not only to revolutionize the teaching of modern
languages, but also to popularize the results, that I may content