short distance, the woman, on her return home, went to a cupboard for some linen, to make into a shirt for her child. She was aware that of the linen there were but three yards, but when she measured it, she found there were more. She measured off another three yards, but still there was a remnant. She then set to work, and continued to measure off, more and more, while the linen continued to lengthen in proportion. Astonished at the circumstance, she persisted in measuring, till she filled the whole of her cabin, and then her yard, and then she went forth into the fields, holding in her hands the end of the cloth, which still continued to lengthen, spreading itself upon the ground, like so many pathways upon the grass behind her.
At once delighted and surprised, she thus prolonged her work till nightfall. She had become rich. The event soon became known to the neighbours, and among others, to the ill-disposed woman. To the latter it was grievous to have missed such an opportunity for gratifying her covetousness. She now regretted having refused the old man a night’s lodging, and with a view to rectify her mistake, and also to gain, possibly, still more than the good woman had done, she sought out the old man, and invited him to her dwelling. He came. Hiding her selfishness under a false appearance of benevolence, she prepared him a soft bed, and regaled him to the best of her power. On the following day the old man thanked her, and going out, said,
“For this day thou wilt have in abundance of whatever thou wilt first take in hand.”
Hardly had the old man gone, when the woman, actuated with but one desire, hurried to her money, of which she determined to count out an immense quantity. Fearing, however, lest she might be robbed, she betook herself to a very solitary spot, where she might be unseen of any one. Before beginning to count her money, she wished to wash some coins that had got dirty, and for this purpose, on pouring some water over them, she found that the water would not cease flowing. It flowed and flowed, till herself, and her house, and her fields were completely drowned; and it is on that spot where now lies the Lake Gidden.
OUR SCHOOLS OF DESIGN.
The various schools of art and design are now doing excellent service to the young aspirants of the brush, by sending forth from their walls first-class teachers of drawing and painting, whose rigorous training of eye and hand renders them able masters and mistresses to government, public and private schools, and private families of the highest rank; and the teacher’s first-class certificate is as valuable to the talented possessor, and as highly prized, as a “double first” to an University man. Since, then, there are places where drawing is correctly taught to students of both sexes at small cost, why do not all artists, who can possibly afford the time and expense, avail themselves of the privileges afforded by the Head Department of the Government Schools of Design, at South Kensington? Where, as at all the district schools, correctness of outline and distance are looked upon as the first, not last, principles of art; and where no students, however talented, are permitted to handle the brush till they can thoroughly and skilfully wield the pencil—in fine, they are taught to walk before they run; to spell before they read.
Some account, perhaps, of the Head School of “Art and Design,” at South Kensington, whilst specially intended for the benefit of the artist, may not be either unamusing or instructive to the general reader, as to the scale of fees, daily routine of duty, and the general arrangement and conduct of the establishment. There are then two terms of sessions (as they are called) in each year, the first commencing in March, and terminating in July; the other in October, and ending in February. August and September are the long vacation months. At Christmas and Easter, a week’s relief from duty is permitted: and gladly do the weary students avail themselves of the permission. The fees are but 4l. a session, which (not very large sum) includes admission to all the lectures. Hours of study from ten till four—a quarter of an hour being the prescribed time for luncheon. Each student is expected to provide himself or herself with an easel, large drawing board, maul stick, plummet, pencils, paper, india-rubber, case of instruments (containing large and small compasses with pen and ink legs, dividers, and scale), note book, T-square, and, if possible, a set of models for home study. The female classes are under the same roof, but quite distinct from the male schoolrooms. They receive the most careful instruction, under certificated mistresses; and the masters of the male schools, on certain days, attend to the more advanced classes. On first entering, the student is placed in the “Elementary Class” room, and a simple geometrical diagram given him to copy, always remembering that no measuring with strips of paper, or the pencil laid actually on the copy, is for one moment allowed; the former held at a distance and the eye alone are to be relied on by the would-be artists. For, at this early period of his art education, whatever proud ideas may exist in the scholar’s own mind regarding his ability, the authorities think only of training the eye and hand to obey the mind. Gradually, progressive copies of “ornament” follow these simple diagrams, till step by step the student, rejoicing in his progress, attempts the magnificent prize piece, with its flowing curves and wreathing flowers. The horror and dismay with which these copies are at first regarded is almost ludicrous. “I can draw people, horses, dogs, houses, trees, any thing in short; but these detestable two sided things,” is the common exclamation of the dismayed beginner. But in these horrid two-sided monsters, the utility of ornament consists: for every leaf, point, curve, or flower, on either side, being exactly the same size, height and distance apart, the skill and patience of the novitiate is tried to the uttermost to make them agree: and for the first few weeks Mr. B.’s mark, Miss C.’s mark, are written in very legible pencil dashes on “broken-backed curves,” “crooked verticals,” and “ill-balanced points,” without the slightest regard to the miserable student’s feelings.
