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PREFACE

the most attractive of those I am concerned with. It is
what we call morphology, which consists in tracing out the
unity in variety of the infinitely diversified structures of
animals and plants. I cannot give you any example of a
thorough @sthetic pleasure move intensely veal than a pleasure
of this kind—the pleasure which arises in one's mind when
a whole mass of different structures run into one harmony
as the expression of a central law. That is where the
province of art overlays and embraces the province of intellect.
 And, if I may venture to express an opinion on such
a subject, the great majority of forms of art ave not in the
sense what I just now defined them to be—pure art; but
they derive much of their quality from simultaneous and
even unconscious excitement of the intellect.

If I could make a clean sweep of everything and start
afresh, I should, in the Jirst place, secure that training of
the young in reading and writing, and in the habit of
attention and observation both to that which is told them,
and that which they see, which everybody agrees to. But
in addition to that, I should make it absolutely necessary
Jor everybody, for a longer or shorter period, to learn to
draw. Now, you may say, there are some people who cannot
 draw, however muck they may be taught. I deny that,
in toto, because I never yet met anybody who could not learn
to write. Writing is a form of drawing ; therefore if you
give the same attention and trouble to drawing as you do
to writing, depend upon it, there is nobody who cannot be
made to draw, more or less well. Do not wmisapprehend
me. I do not say for one moment you would make an
artistic draughtsman. Artists ave not made ; they grow.
You may improve the natural faculty in that direction but
you cannot make it ; but you can teack simple drawing, and
you will find it an implement of learning of extreme value,
I do not think its value can be exaggerated, because it grves
you the means of training the young in attention and ac-