legs. Delighted with his discovery he covered the floor in the picture, and then the whole margin of the paper all round, with rats. This impressed the 'blob' on me, but even then it might have passed unnoticed had not these two questions been working in my mind: What are the general forms in living objects'; and 'How can we help little children to begin to color?' To this last question here was an answer; here were all the conditions required; the ovate form and an animal at once, made with one easy stroke, and that so delightful to a boy that he repeated it scores of times just to please himself with its free play. Although Jack Lhas been dead several years, he did not live altogether in vain."

A few words as to the mechanical production of the "blob":

"A brush is ovate in shape, leaf-like; fill it with color not too thin and watery, let its whole length drop on the paper, press it down a little, then take it up, without moving it sideways, and it paints at one touch a portrait of itself—an ovate blot or blob. Any child who can hold a brush can make it. . . . To make it the brush should be held nearly parallel to the paper, not like a pen at an angle of 45°. One way of doing this is to put the long handle inside the hand, and drop the brush on the paper. One end of the blob thus made is dark, the other light; the color is graduated like the form. To get the full value of this gradation, to get the darkest points together in the centre of a flower or whorl, the hand must be turned at the wrist freely, and for this some preliminary gymnastic exercises will be useful."

Next, as to the suggestiveness and inherent potentialities of "blob":

the "

"The ovate forms, separately or combined, will suggest to the child natural objects, such as leaves or fish. Two ovates or blobs will by the addition of a stroke or two represent a plantlet; three, a clover leaf, or flying bird; four, a wallflower; five, a starfish, or flowers, regular or irregular, as roses or violets. If the ovate forms are arranged along a line instead of radiating like a wheel or floral leaves, buds and fruits will be suggested. Many other things-animals of many kinds, from worms to man, can be easily made by adding limbs and other appendages. The Greeks seem to have seen very soon in the ovate stroke the likeness to the cuttle fish.

"Children constantly find similarities in ovate forms and in chance combinations they make. This characteristic of the child long survives, and it indicates an easy way of beginning and helping design; we can begin with something outside, or from something done, as well as from thought, perhaps better. The child's natural method supports this. At the age of four a child names what it has drawn after the drawing is made. Even artists like Leonardo da Vinci, have advised that a plate should be held over a flame, to get suggestions for pictorial effects, from the chance scribbles and tints of its smoke. This way of beginning with the outer, sanctioned by the child's nature and highest authority, may be used, at least as the child uses it, to get initial suggestions. It can be abandoned if not needed, but when we see how some earnest people 'cudgel their brains' trying hard to invent, and nothing comes, a beginning of this kind may be a relief and a comfort. The little child begins by doing, and thinks afterwards. This shows how production promotes thought; suggestions arise from the doings of the hand as well as from the activity of the head, from outer as well as from inner; only begin, and the next step will be easier. Put down two blobs, they may suggest combinations, when thought fails."

And finally a remark on the rôle of accident in creative invention and on the power of the accomplished fact:

"A child will often, by happy accident, make something like a bird or beast, and this can be made again. 'I can't' has lost its power; what the child has done, it can do. If chance combinations are repeated they will come under the control of will and cease to be accidental. The happy accident will also induce the child to look again, of its own free will, at the actual thing to see how like it is, and so more knowledge will be gained and the form improved. Anything that will induce the child to go to Nature itself-instead of having Nature brought to it by another -to use its eyes and senses constantly out of doors and about it, is good. Its drawing may be useless, but to see is better than to draw. All study will be benefited by cultured and constant observation. The little child observes habitually, and the habit should never be allowed to die."

Little has been said in our quotations regarding details of technique. This is a matter for which the reader is referred to the sources above mentioned. But we may mention in conclusion, and à propos of this point, the work of the "Alma" School of London, one of the newer well-designed and well-equipped schools of the London School Board, in which the new Alternative Syllabus of Drawing which embodies Mr. Cooke's ideas has found successful adoption, and from the records of which the specimen illustrations accompanying the present article have been taken. The "Alma" School is attended by the children of workingmen, of ages ranging from seven and one half to thirteen and one half years; there are two lessons in drawing a week, the main object of which is the teaching of design. The introduction of the system in this school has been very encouraging from an inventional point of view. "It has evoked in the boys," says the Headmaster, "such an intense interest as I had never seen displayed before. The study has been from the beginning taken up with the utmost enthusiasm. The boys were charmed to be able to use chalk, but they have been fascinated with the brush, and the deftness with which they manipulate it is marvellous; there is almost an entire absence of color in the wrong place; a spotted or smudged drawing is scarcely ever seen; they take an immense pleasure and rapidly acquire skill and taste, in mixing and harmonising colors." It has called forth a great deal of voluntary homework, and has appealed to the dullest as well as to the brightest. "Nor has the effect of this work been confined to the drawing; the consciousness of power which a boy obtains in producing a good design overflows into all his other work. Some timid, hesitating lads have been simply transformed intellectually under its influence. Such a boy no longer does merely what he is told; he works because he enjoys it, because he feels that by work he can achieve something." It has supplied, in fine, “an artistic and scientific basis for true technical training, and produced at the same time the spirit which alone will make that training effectual."

GOSPEL PARALLELS FROM PÂLI TEXTS.

Translated from the Originals by ALBERT J. EDMUNDS.

(Fifth Series.)1

APOSTOLIC SUCCESSION.

Matthew xvi. 17–19. And Jesus answered and said unto him, Blessed art thou, Simon Bar-Jonah: for flesh and blood hath not revealed it unto thee, but my Father which is in heaven. And I also say unto thee, that thou art Peter, and upon this rock I will build my church; and the gates of Hades shall not prevail against it. I will give unto thee the keys of the kingdom of heaven; and whatsoever thou shalt bind on earth shall be bound in heaven and whatsoever thou shalt loose on earth shall be loosed in heaven.

MONI

MIDDLING COLLECTION, DIALOGUE CXI.

[ONKS, it is only of Sâriputto that one can truly say: He is a lawful son of the Blessed One, born of his mouth, born of his religion, spiritually created, a spiritual kinsman, not a carnal one. Sâriputto, O monks, keeps up the incomparable empire of religion set going once for all by the Tathâgato.

NUMERICAL COLLECTION I. 13.

Monks, I do not perceive another single individual who keeps up the incomparable empire of religion set going once for all by the Tathagato, excepting Sâriputto.

Sâriputto, O monks, keeps up the incomparable empire of religion set going once for all by the Tathâgato.

NUMERICAL COLLECTION V. 132.

Monks, the eldest son of a king who is a world-ruler (Cakkavatti) is endowed with five attributes, and keeps up the empire (lit., keeps the wheel rolling) set going by his father by righteousness alone: that is the wheel which cannot be turned back by any human being, by any hostile hand.

What are the five attributes?

In this world, monks, the eldest son of a king who is a world1 Counting The Penitent Thief (October) as the Fourth Series.

ruler is worldly-wise, and spiritually wise, temperate, wise in the times, and wise in the assemblies.

Monks, the eldest son of a king who is a world-ruler is endowed with these five attributes, and keeps up the empire set going by his father by righteousness alone: that is the wheel that cannot be turned back by any human being, by any hostile hand.

Exactly thus, monks, does Sâriputto, with five qualities (dhammas) endowed, keep up the incomparable empire of religion, set going once for all by the Tathâgato: that is the wheel that cannot be turned back by philosopher or brahmin, angel or Tempter, archangel, or any one in the world.

What are the five qualities?

In this case, monks, Sâriputto is worldly-wise, spiritually wise, temperate, wise in the times and wise in the assemblies.

With these five qualities endowed, monks, does Sâriputto keep up the incomparable empire of religion set going once for all by the Tathagato: that is the wheel that cannot be turned back by philosopher or brahmin, angel or Tempter, archangel, or any one in the world.

SUTTA NIPATO 557.

The wheel set rolling by me-
Religion's incomparable wheel-
Sâriputto keeps rolling,

[He] the fellow of the Tathagato.

SAVING POWER OF BELIEF.

Mark ix. 23. Jesus said unto him, If thou canst ! All things are possible to him that believeth.

Cf. John iii. 18, and the New Testament throughout.

NUMERICAL COLLECTION I. 17.

Monks, I do not perceive another single quality whereby beings, upon the dissolution of the body after death, rise again in states of suffering, woe, destruction and hell, to be compared, O monks, to false belief.

Beings, possessed of false belief, O monks, upon the dissolution of the body after death, rise again in states of suffering, woe, destruction and hell.

Monks, I do not perceive another single quality whereby beings, upon the dissolution of the body after death, rise again in the world of weal and paradise, to be compared, O monks, with Right Belief.1

The first step in the Noble Eightfold Path of Gotamo's famous Sermon in the Deer Park near Benares. The doctrine of the saving power of Belief is thus fundamental in Buddhism.