of a schoolmaster who knew how to make even the dullest subjects interesting and amusing.
Again, children appealed to his æsthetic faculties, for he was a keen admirer of the beautiful in every form. Poetry, music, the drama, all delighted him, but pictures more than all put together. I remember his once showing me "The Lady with the Lilacs," which Arthur Hughes had painted for him, and how he dwelt with intense pleasure on the exquisite contrasts of colour which it contained—the gold hair of a girl standing out against the purple of lilac-blossom. But with those who find in such things as these a complete satisfaction of their desire for the beautiful he had no sympathy; for no imperfect representations of life could, for him, take the place of life itself, life as God has made it—the babbling of the brook, the singing of the birds, the laughter and sweet faces of the children. And yet, recognising, as he did, what Mr. Pater aptly terms "the curious perfection of the human form," in man, as in nature, it was the soul that attracted him more than the body. His intense admiration, one might almost call it adoration, for the white innocence and uncontaminated spirituality of childhood emerges most clearly in "Sylvie and
