To be returned to the Turnstile. THE BOARD SCHOOLS OF THE TOWER HAMLETS. SCHOOL BOARD FOR LONDON. EXHIBITION OF CHILDREN'S WORK FROM THE SCHOOLS IN THE TOWER HAMLETS DIVISION, HELD IN THE WHITECHAPEL ART GALLERY, HIGH STREET, WHITECHAPEL, E., FROM THE 8th to the 20th DECEMBER, 1902. OPENING CEREMONY MONDAY, 8th December, 1902. THE EXHIBITION WILL BE OPENED BY GRAHAM WALLAS, Esq., M.A., (Chairman of the School Management Committee of the School Beard for London), at 7.30 o'clock, p.m. THE CHAIR WILL BE TAKEN BY CANON BARNETT, Chairman of the Trustees PLAN OF THE EXHIBITION. HE object of the present Exhibition is to show the work done by Scholars in the day and evening schools of the Board in the Tower Hamlets. There are sixty day schools, with one hundred and seventy departments, and seventy thousand scholars. There are forty evening schools, with 16,510 scholars. Every school with two exceptions, and every department with about thirty exceptions is represented in the present Exhibition. The desire of the School Board has been to show the ordinary work of the schools, not the work of a few picked scholars. It would have been easy to find among the seventy thousand children, seventy of exceptional ability, and to have shown their work only. It is even more impor- tant to see what the great mass of our children are doing. Throughout, it must be remembered that the object of the work is not to form complete craftsmen, but to give such skill of hand, such accuracy of eye, such intelligence of mind, as will enable the boys and girls, if they have the pluck to keep up their work, to become highly skilled workers hereafter. Thus the object of teaching Drawing in our schools is not to turn out artists. Here and there a boy shews exceptional gifts, and is sent on to an Art centre where he may be successful, and later on win a Scholarship, and enter some good Art school. Such a boy is one in a thousand. Of the other nine hundred and ninety-nine children, some will use their skill in engineering or building, in dressmaking or millinery, as clerks or carpenters. Everywhere the power to express an idea clearly on paper, is an immense advantage to a man or woman. Above all, everyone needs drawing in order to learn to see. Most of what we call drawing is really accurate seeing. We don't know things because we don't look accurately ; it is only when we try to draw a cat, or a bird that we discover that we don't know what it looks like. It is only in drawing it that we learn to see what it really is. 3 Each subject is spoken of in turn further on. The School Board hopes that fathers and mothers will bring their children, and that children will bring their fathers and mothers to see what is being done in their own and other schools, and that all will gladly recognise how much is done, and how very much remains to do. Above all, the Board hopes that fathers and mothers will remember how very much they can themselves do to help the children. The girl who is allowed to cook the Sunday dinner will profit doubly from the Cookery lessons ; the boy whose father takes an interest in his copy books and drawings, learns twice as much ; the child who sometimes reads to his mother, or tells her what he has learnt at school, enjoys his work immensely more than the child who works only for the sake of himself and his teachers. If parents feel grateful to the teachers for what they do for their children, they can best shew their gratitude by encouraging the children in their work. The children of to-day are the England of twenty years' hence. If we can make them hardworking, skilful, intelligent, honest and generous, we need not fear the future. G.L.B DESCRIPTION OF EXHIBITS. UPPER GALLERY. This Gallery contains on the right hand (East) side the work from Boys' Schools. At the end the work from Mixed Schools and Pupil Teachers' Centres. On the left hand (West) side, the work from Girls' Schools. In the centre, the work from Infant Schools and Special Schools. The Cookery, Housewifery and Laundry Exhibits will be found in the Small Room, and the work of the Evening Classes in the Upper Gallery. DRAWING AND CLAY MODELLING. The first general impression of the ordinary class-work drawings is that they can be roughly divided into two kinds ; one kind that looks better at a distance, and the other that requires to be looked into to see its beauties. The first, which is known as Free-arm Drawing, has for its object the drawing of the whole mass rather than the careful and labor- ious efforts to obtain correct minor details. A careful exam- ination of Ihe results from several schools will show the various schemes employed. The interest which the scholars take in this kind of drawing more than justifies the Board in attempting to include it in as many of their schools as possible. Ic should be mentioned that the drawings are done at arm's- length with white chalk on brown paper, or coloured chalks on white paper. .oQiC.3 BRUSH DRAWING. Amongst the drawings will be noticed some very pretty coloured designs of various flowers, etc. In this branch of drawing, which is a comparatively recent innovation, the results are obtained by the use of a brush and paints. The work has to be done very carefully, as the whole of the design has to be drawn by the brush (only a few of the leading lines being done in pencil), and any mistake made in the first attempt remains. This branch of drawing is probably one in which the scholars take the greatest interest. Mechanical, 'Model and Still Life Drawing, Shading and Design will all be found represented. Drawings of Science Apparatus will be seen among the exhibits of the Highway, Portman Place and Marner Street Schools. 5 MANUAL TRAINING. Woodwork. — It should be pointed out that this branch of school-work is in no way an endeavour to teach a trade, but is intended to give the scholars a training in habits of order, accuracy, and self-reliance, and that dexterity of hand and eye which will be of immense value to them in after-life in any occupation which they may be called upon to follow. In connection with this, attention is directed to the Science Apparatus exhibits, which have been constructed partly in the Manual Training Centres for Woodwork and Metalwork, and the Chemical and Physical Laboratories. The whole of the work is executed from drawings which have been previously made by the scholars. The scholars attend at the Special Centre for half a day each week from Standard V. upwards. Metalwork. — This branch of the Board's work had its origin in one of the schools of the Tower (Hamlets Division (Thomas Street, Limehouse), and the work executed there is of the highest degree of excellence, and the exhibits will repay careful investigation. HOME-MADE SCIENCE APPARATUS. The object of the instruction given in Science is to train the children in habits of intelligent observation, and to enable them to think for themselves clearly and correctly. The subjects of instruction are chosen, as far as possible, so that the subject matter shall be of use and interest to the children, but the teaching is given not so much for the information to be acquired as for the mental training and discipline which the proper study of the subjects imparts. There is no attempt to crowd the minds of the children with the crude facts and technicalities relating to any particu- lar science, but everything is done to encourage and develop the faculty of observing, thinking over, and enquiring into, things with interest, intelligence and judgment. The method of instruction is, as far as possible, experi- mental. All lessons are illustrated by experiments, and in many cases it is possible for the children to experiment for themselves, and so to realise something of the part that experiment ought to take in supplementing observation and thought. In the present Exhibition the specimens shown are chiefly pieces of apparatus and working models made or set up by the scholars and teachers (Portman Place, Thomas Street) and they illustrate how the attention of the boys is directed to the practical applications of science, and how the hand and eye training of manual work is utilised in developing the practical side of the work in Science. NEEDLEWORK AND KNITTING. In these subjects, more than any other, the work of all the standards is shown, and a careful examination of the exhibits 6 from the various Infants' and Girls' Schools will give some idea of the general methods adopted in teaching and the various schemes employed. It will be admitted that for girls this branch of the Board's work is of the utmost utility, and the object aimed at in the teaching is to give not so much a theoretical knowledge of the subject as a practical one. This is amply borne out by the specimens shown, which consist of examples of simple stitches of the Infants' up to the finished work of the Upper Standards, and the practical dress-making and millinery of the Evening School scholars. It will be noticed that mending is not forgotten. EXHIBITS FROM SCHOOLS FOR THE BLIND AND DEAF. There is one school for the Blind, and one for the Deaf, in the Tower Hamlets. The former is at the Highway School, and the latter at Farrance Street School. The ordinary school subjects are taught to the Blind in addition to Braille writing and reading. The Manual instruc- tion includes beadwork, mat-weaving, knitting, sewing, chair- caning, basket-work, laundry-work, wood-work, specimens of which are exhibited. The boys and girls attend Cable Street School Gymnasium for drill and gymnastics. The Deaf are taught by the " Oral Method " — speech and hip-reading — and the curriculum includes ordinary school subjects. Also drawing and brush-work, clay-modelling, strip woodwork, needlework, cookery, laundry-work, card- board and woodwork. Specimens of the work are exhibited. The success of the Blind and Deaf after leaving school will much depend on their manual dexterity, therefore, particular attention is given to manual instruction in the Blind and Deaf Schools. EXHIBITS FROM SCHOOLS FOR SPECIAL INSTRUCTION. Mentally Defective-— It will be noticed that the schools in this section send the greatest diversity of exhibits. Not only are specimens of ordinary class-work shown, but, in addition, many other kinds of manual work, and nature study, the object of the great diversity being to capture and secure the attention of this difficult class of children. Physically Defective- — These exhibits are from the one school in the Division attended by children suffering from some physical disability which renders them unable to attend ordinary schools. The children are carried to and from the school in an ambulance. Beyond being slightly backward, the scholars in this school do not differ in any way from those in an ordinary school, and the only variation in the methods adopted in teaching, as compared with the ordinary schools, is that a greater effort is made to encourage the scholars in the study of subjects which may ultimately enable them to earn their own living. 7 INDUSTRIAL SCHOOL WORK. The exhibits shown in this section are from the only school of the kind under the London School Board in the Division. In this particular school (Brunswick Road), efforts are made to train the scholars for the shoe trade, as the boots exhibited show. INFANT SCHOOL WORK. The centre of the gallery is given up to the work of the Infant Schools. The variety of the work exhibited shows how many plans there are for training the eyes and minds of very young children. Nature Drawing, w T here the child tries to draw for itself the object before it, is one of the most useful means of training the young scholar. Examples of this kind of work may be seen among the exhibits sent by the Gill Street and High Street Schools. SMALL ROOM. COOKERY, LAUNDRY WORK AND HOUSEWIFERY. The attractive and interesting series of exhibits in this section consists of specimens of work executed by the girls attending the various Domestic Subjects Centres in the Tower Hamlets Division of the School Board Area. , Instruction in domestic subjects comprises courses of instruction in cookery, laundry-work,, and housewifery, carried on in separate specially constructed Centres arranged and equipped for the teaching of each branch of the work, and the instruction is given by specially qualified teachers, trained in schools estab- lished for the purpose. All girls over eleven years of age, who are under instruction in the ordinary schools of the Board, are required to attend a Centre for instruction in one or other of these subjects on one half-day in each week, and children attending Schools for the Blind, Deaf and Special instruction also attend the Domestic Subjects Centres. The materials required for the practical work at the Cookery Centres are purchased from local tradesmen, and the food prepared is sold by the children or teachers of the schools. The girls are allowed to bring suitable garments from their homes to the Laundry Centres for cleaning, but nothing is allowed to be brought from a house where an infectious disease has existed during the previous six months. The instruction is arranged so that as much importance is given to the scientific principles which underlie the various processes as to the practical teaching and practical work of the children. It will be seen from the exhibits that the lessons cover a wide range of instruction, and include thrift, marketing, invalid cookery, home-nursing, sanitation, ventilation, the 8 treatment of common ailments, how to choose various articles of diet, the care of infants, etc. This instruction is not intended to direct the minds of the children to any particular form of employment ; it is obvious that it is calculated to be of inestimable advantage to a girl in whatever position in life she may ultimately attain. Ruth Homan, Chairman of the Domestic Subjects Committee. UPPER GALLERY. WORK DONE BY THE EVENING GLASSES. In the Upper Gallery it has been thought well to place on the screens and the portions of the walb not required for the exhibits of the children, some specimens of fine work in carv- ing and designing, executed by more advanced craftsmen of the past and present time. From* these it is possible for the children to see what sort of treatment produces the finest effect in the different branches of work at which they are beginning to work. The Board of Secondary Education have kindly lent some framed specimens of Embroideries, Wood-carving and Metal- work; Messrs. Jeffrey & Co. a collection of Wall Papers, designed by some of our best English designers in this branch of art — Mr. W T alter Crane, Mr. Heywood Sumner, Mr. A. F. Vigers, Mr. S. Mawson, and Mr. C. F. A. Voysey. The latter has also obtained for the Exhibition some beautiful patterns of stuffs woven from his designs. Screen A.— Metal-work. The metal-woTker has special beauties suggested to him by his material. The greatest beauty of some metals — gold, silver, brass and copper — lies in their power to catch and reflect light, therefore a treatment in flat surfaces and rounded bosses produces the best effect. Iron, on the contrary, does not reflect light in the same way, but it can be beaten and twisted when heated and yet regain firmness and the power of resisting, when allowed to cool. We find, therefore, the chief beauty of ironwork lies in delicate shafts, graceful spiral twists, and flat plates, extremely thin but hard and firm. Screen B.— Wood-Carving. Stone, wood and metal each suggest to the artist different modes of treatment and different effects of beauty to aim at. Stone, with its firm, hard texture, requires the short, sharp strokes of the chisel ; wood, with its firm, but softer, grain, the steady pushing handling of the chisel. It is a mistake for the stone carver to try to imitate the smooth rounded surfaces of wood-carving, or for the wood-carver to attempt the effects of light and shade that the worker in stone can obtain. The modeller in clay, with his soft material can get delicate effects impossible for other artists. 9 Screen C— Embroidery and Brocades. The finest designers of embroidery and carpets have been the Persians. No other nation has equalled them in their eye for colour and their power of combining truth to nature with decorative effect. Persian influence may be traced in the Turkish embroideries on the screen. There is also a specimen of the beautiful work which the Dutch excelled in 200 years ago, when they alone, among Europeans, were familiar with the arts of Japan and China through their traders who 'had settlements all over the East. The two specimens of Spanish work show the rich bold colouring peculiar to Spain, which is a country where there are strong contrasts of light and shade. We generally find the most brilliant colouring in hot sunny countries like Spain. The Italians first excelled in weaving rich silk and velvet brocades. Italy was a country where most of the artistic races came, the Greeks, the Normans, the Saracens, and Italian art profited by all these examples and influences. Some specimens of 18th century French brocades are shown on Screen A. We notice in them a more fanciful, less con- ventional treatment and a lighter, more delicate, colouring. EAST WALL. WALL PAPERS. Those who are going to design wall papers should remember that, however simple the design is, it must be well drawn. No elaboration in the design will make up for ugly line and bad drawing. In beginning to design a wall paper the con- structional lines or skeleton on which the ornament is based must be planned out ; unless this construction is borne in mind the design will probably take all manner of strange forms and ugly lines which the designer never intended. These constructional lines may be hidden, but they must not be destroyed. In designing,, the whole surface of the wall must be kept in view. It is not enough merely to consider how the design looks in one repeat of the pattern, such as we see here in these single strips. It is not always best to cover the entire ground with ornament, for plain spaces of ground, provided they balance the ornament well, are often far more pleasing. Whatever the forms are, whether those made by the spaces left, or those of the ornament itself, thep muSt be beautiful. If the basis of the design be some natural growth, only those plants must be used which can be treated in such a way that those who see them can appreciate the beauty of their growth. For instance, do not place the lily on a scrolly stem, but treat it in its upright and stiff growth. Do not represent some delicate climbing plant so stiffly that it appears as if it could never climb or trail. If it is desired to shade a design, its shades must be kept as. broad as possible^ for conventional designs, when oyer- IO shaded, produce a restless effect on a wall. Shading is, indeed, dangerous, as the paper will cover all four walls of a room, and the light cannot fall in the same direction on all the walls. The safest plan to ensure repose, and a pleasing background for furniture and pictures, is to treat the design simply in broad flat colours without shading. When drawing •the outlines, the colour masses that are to fill them must be borne in mind, for colour masses, badly arranged, often spoil otherwise good designs. 1 Sweet Pea, treated somewhat naturalistically but very beautifully, its climbing growth being well brought out. 2 Rose and Iris. A beautiful harmony of red and purple. The climbing growth of the Rose is well combined with the stiffer clumps of Iris and Pansy. 3 Frieze Paper to go round a room for two feet below the ceiling. Though this paper is printed by machinery, the ships are stencilled by hand, thus a variety can be given to the effect by altering the position of the ships in relation to the clumps of trees and the mountain background. 4 Set of four strictly conventional designs . The Rose and Columbine. The Bay-tree. Good simple design of Sprigs, spinkled in regular lines on a plain ground. The Snowdrop and Snowflake. 5 May-tree frieze — one of Mr. Walter Crane's most beautiful designs. 6 Nursery papers with figures designed by 'Mr. Walter Crane. 7 Two bold patterns, inspired by Eastern designs. Such patterns look best in large rooms. 8 Ceiling Papers. In these the design must be flat and formal. WEST WALL. WOVEN AND PRINTED FABRICS. The pattern of textile fabrics — tapestries, brocades, silks, velvets, cottons and muslins — may be produced in two ways. It may be printe'd on the surface, or it may be woven in the fabric itself. The designer must consider whether the pattern is to be printed or woven. If it is to be printed, he may design very much as he would for a wall-paper or any other flat surface, allowing himself, perhaps, a more striking pattern and bolder colouring,, since the fabric will hang in folds, and parts will be hidden, so that a design that would weary the eye in a wall-paper, where every inch will be seen, may be allowed in a fabric, where part of it will escape the eye. II If, however, the design is to be woven, it must be adapted to the principle of weaving, where the design is produced by crossing threads in the loom — by threading the warp (the up- right thread) with the weft (the horizontal thread). The designer must remember that the edge of his masses will be stepped where the design crosses the warp, or upright thread, and straight where it follows the warp, as in the upright stems of plants. This flatness and squareness of outline, which is inevitable in weaving, should prevent the designer from attempting to draw too naturalistically or to render light and shade. Such effects cannot be well reproduced in weaving and therefore they should not be attempted. In a machine-executed pattern the flowers or animals are repeated again and again, and it is obvious that they are not done by hand, therefore it is better not to attempt to treat them too naturalistically. A machine made imitation of hand-work can only be a coarse reproduction. The delicate touch and individuality which gives hand-painting its value are. lost and the beauties peculiar to good design and formal pattern are not obtained. In treating animals in designs for fabrics it is well to follow the example of the masters of design in the middle ages. They did not try to copy the animal exactly, but they selected the most prominent features of each beast, the mane and tail of a lion, the wings and claws of a bird, and by exagger- ating these and simplifying the rest they obtained an easily recognizable lion or bird. For successful ornamental effect, simplicity and boldness of outline are essential. Much detail must be sacrificed. Note the birds in the fabrics designed by Mr. Voysey, on the West Wall. They are not naturalistic, but no one could fail to recognise at a glance what they are meant for, and their simple, graceful outline is quite true to bird-life. CONCLUSION. The work of these Classes, even the most advanced, cannot pretend to have great interest as Art work. It is work done by young scholars. Therefore, in selecting the objects for this Exhibition, the aim kept in view has been, to illustrate what is being done to train the eyes, hands and brains of the children in exactness and accuracy. The School Board rightly refuses to term these classes Art- classes. In the modern world, Art has come to be regarded as something by itself — something apart from life— a luxury, devoid of use or serious purpose. Such a view of Art is, of course, wrong, but it is almost inevitable under the conditions of modern lite, where nearly everything we use is ugly, and pretty things will not stand use, and have to be kept as "ornaments" for fear they should be broken. 12 Art was, in its origin, founded on accuracy and love of truth, and if it is to be of real value to the world, it must go back and build itself upon these sure foundations. There is a certain significance in the accident, that this display of work, declining the name of Art, is being held in an Art Gallery. In reality, the work shown here is Art, simple, imperfect and elementary, but nevertheless Art ! There never was a truer saying than that hard saying of the poet Keats : — " Beauty is truth, 1 truth beauty ' — that is all Ye know on earth, and all ye need to know." Things are beautiful in as far as they are true to the great principles and ideas that underlie life. A pot is beautiful if it holds water and pours well, it is not beautiful because it is over-decorated with so-called Art designs and colours which usually prevent us using it. A Hansom Cab is a beautiful object, because it is exactly adapted to its purpose of conveying people rapidly about the London streets, and this principle is beginning to be realised in High Art Painting and Sculpture. The great fault of the English Painters, from Reynolds downwards, has been that they have been content with beautiful colour and workmanship. They have not set themselves to observe and bring out the truths of life. They have had no grip of the great human relationships and eternal problems that life presents. Painters on the other hand, like the Italian Giotto, the Dutch Rembrandt, and the French Millet had this hold on the truths of life, and were con- summate craftsmen as well, they knew how to paint and what to paint, and their pictures are great Art for all ages. Now, in modern life, nearly all Art is trivial or false, and the thing to do is to go back to the beginning — to fit wood exactly, to draw lines truly and beautifully— to be true in small things as a child, and the habit and love of exactness and truth induced in the child will produce a man who can realise the larger truths of existence, and, if he has the Divine gift of artistic genius, give us faithful representations of them. Thus we may hope for great artists once more. This Exhibition, therefore, is more important than would appear from the small, simple objects shown. It represents an, effort to get back to accuracy and truth. 13 PROGRAMME. MONDAY, 8th December, 8.30 to 9. GYMNASTICS. CABLE STREET (Males). Responsible Teacher . Mr. T. Pomfrett. Instructor : Mr. G. E. Hayward (1) Indian Clubs ; (2) Parallel Bars; (3) Vaulting Horse. 9 to 10. INSTRUMENTAL MUSIC. ST. SAVIOUR'S, POPLAR (Mixed). Responsible Teacher : Mr. F. R. Matley. Instructor: Mr. F. W. Weller. I. Grand March — " Triomphe " (E. L. Hime). •2. Gavotte — " Immer Wieder " (W. Vandervell). 3. Valse— " Peacefully Dreaming" (Douglas Blake). 4. Graceful Dance — " Edina " (W. Vandervell). 5. Entr'acte Gavotte— " Carrick " (Cecil Neilson). 6. Intermezzo — " Forget me not " (Allan Macbeth). 7. Old Dance— " Irene " (W. Vandervell). 8. Graceful Dance— " Gretta " (Oscar May). 9. Valse — "Madame Sans-Gene " (Jasper Vale-Lane). 10. Old English Dance—" Henry VIII." (W. Vandervell). II. Gavotte—" Les Cloches de S. Malo " (W. Rimmer). 12. Selection— " Brooklyn " (T. W. Thurban). TUESDAY, 9th December, 7.30. LOCAL HISTORY LECTURE. 1 4 WEDNESDAY, 10th December, 7.30 to 8. FIRST AID. MILLWALL SCHOOL (Males). Responsible Teacher : Mr. G. Frankland. Lecturer : Dr. Cardale. Assistant : Mr. R. J. Williams. (1) Treatment of common fractures, of lower jaw, collar bone, ribs, upper and lower limbs. (2) How to stop bleeding from principal blood vessels. (3) Stretcher exercises. (4) Fire- man's lift. (5) Two, three and four-handed seat. (6) Artificial respiration. 8 to 8.30. DRILL. SINGLE STREET (Males). Responsible Teacher : Mr. W. H. Everett. Instructors : Messrs. Lee and Kiy. (1) Dumb-bells. (2) Indian Clubs. (3) Parallel Bars. (4) Vaulting Horse. 8.30 to 9. DRAMATIC LITERATURE. SETTLES STREET (Females). Responsible Teacher : Mrs. Daniel. Instructress : Miss Martin. " As You Like It," (Act. I., Scene III.). (Rosalind — Millie Finglestein ; Celia — Amelia Barnett ; • Duke Frederick — Dora Levy.) "Much Ado About Nothing," (Act IV., 'Scene I.). [From "How doth the Lady" to "Hence from her. Let her die"] (Leonato — Fanny Wolfewitz ; Benedick — Jane Harris ; Friar — iMilly Segal ; Beatrice — Celia Goldstein ; Hero — Fanny Brand.) 9 to 9.30. VOCAL MUSIC. MILLWALL SCHOOL. Responsible Teacher : Mr. G. Frankland. Conductor : Mr. A. J. Foot. Accompanist: Mr. V. C. H. Leonard. 1. Chorus — " March from St. Polycarp " (Sir F. A. Gore Ouseley, Bart.). 2. Glee—" Come, Fairies all " (J. M. Pelton). 3. Chorus — "Joy to the brave" (Wagner). 4. Part Song — " The oars are plashing lightly " (A. Giebel). 5. Glee — " Autumn Gales " (G. A. Veazie). 6 Chorus — "March from Norma" (Bellini). THURSDAY, 11th December, 7.30 to 8. GYMNASTICS. MALMESBURY ROAD (Females — Commercial) . Responsible Teacher: Mr. H. F. E. Dawson. Instructress : Miss Berry. (1) Dumb-bells. (2) Marching. (3) Apparatus. 8 to 8.30. VOCAL MUSIC. KNAPP ROAD (Females). Responsible Teacher : Miss Mallin. Instructress : Miss Lewis. 1. "Hail to the Queen of the Silent Night" (Bradbury). 2. "The Gift" (Behrend). 3. " List to the Convent Bells " (Blockly). r-t^rr 8.30 to 9. GYMNASTICS. KNAPP ROAD (Males). Responsible Teacher : Mr. F. Wright. Instructor : Mr. G. Rudd. (1) Free Exercises. (2) Parallel Bars. (3) Vaulting Horse. 9 to 9.30. VOCAL MUSIC. ST. LEONARD'S ROAD (Males and Females). Responsible Teachers : Mr. G. A. Webzell (Males), Miss B. Goodwin (Females). Instructor : Mr. W. Harris. (1) Voice Training Exercises. (2) Round " Come 3 follow me." (3) Hand Signs — two parts. (4) " Let the hills resound with song I 3 (Brinley Richards). (5) " The Hardy Norseman." i6 FRIDAY, 12th December, 7.30 to 8. PHYSICAL EXERCISES. BEN JONSON SCHOOL (Males). Responsible Teacher : Mr. G. A. Mazengarb. 8 to 8.30. FIRST AID. GILL STREET SCHOOL (Males). Responsible Teacher : Mr. A. Sanders. Lecturer : Dr. Dudley. Assistant : Mr. T. W. Deason. (1) General Bandaging. (2) Arrest of bleeding. (3) Treat- ment of fractures. (4) Resuscitation of the apparently drowned. (5) Methods of lifting and carrying the wounded {a) by two, three, and four-handed seats, {b) by stretcher. (6) An acci- dent. 8.30 to 9. GYMNASTICS. BEN JONSON SCHOOL (Males). Responsible Teacher : Mr. G. A. Mazengarb. 9 to 10. INSTRUMENTAL MUSIC. BROMLEY HALL ROAD (Mixed). Responsible Teacher : Mr. D. Flynn. Conductor : Mr. J. Milne. 1. March — "Faust" (Gounod). 2. Schottische— " Baden-Powell" (Ida Hampden). 3. March — "Guard of Honour" (Guist). 4. Fantasia — " Victoria Cross " (EzTa Read). 5. Selection — " Honeysuckle and the Bee " (W. H. Penn). 6. March— "The Beefeaters" (Guist). 7. Fantasia—" Scotch Airs " (Volti). 8. Gavotte — " Heimliche Liebe " (Resch). 9. Schottische— " The Ruby" (Guist). 10. March—" Scipio " (Arr. by Volti). 11. Intermezzo — " Forget me not " (Arr. by Volti). 12. March— "Coronation" (Ezra Read}. SATURDAY, 13th December, 7 to 8. DRESSMAKING and CUTTING OUT. HAMLET OF RATCLIFF SCHOOL (Females). Responsible Teacher : Mr. E. Davis. Instructress : Mrs. Mills. 8 to 8.30. GYMNASTICS. KNAPP ROAD (Females). Responsible Teacher : Miss Mallin. Instructress : Miss Munday. (1) Dumb-bells. (2) Indian Clubs. (3) Bar-bells. (4) Marching. (5) Running. 8.30 to 9. DRILL. DEAL STREET (Females). Responsible Teacher : Miss A. Watson. Instructress : Miss Lester. (1) Dumb-bells. (2) Marching. 9 to 9.30. GYMNASTICS. FARRANCE STREET (Males). Responsible Teacher : Mr. F. J. Edmunds. Instructor : Mr. R. A. Carr. (1) Gymnastic Marching. (2) Indian Clubs. (3) Vaulting Horse. , i8 MONDAY, 15th December, 7.30 to 8. GYMNASTICS. CABLE STREET (Males). Responsible Teacher : Mr. T. Pomfrett. Instructor : Mr. G. E. Hayward (1) Indian Clubs; (2) Parallel Bars; (3) Vaulting Horse. 8 to 8.30. VOCAL (MUSIC. OLD PALACE (Mixed). Responsible Teachers : Mr. J. Miller (Males). Miss E. Johnson (Females). Instructor : Mr. Kekwick. (1) " We'll sing a merry roundelay " (Ernest Nichol). (2) " The Sea " (H. Longhurst and G. G. Lewis). (3) "Forward gaily together" (S. McBurney). (4) " The Fox and the Grapes " (H. Longhurst and G.G.Lewis). (5) " Merry Month of May » (L. de Rille). 8.30 to 9. GYMNASTICS. DEAL STREET (Males). Responsible Teacher : 'Mr. J. W. Gilbert. 9 to 9.30. VOCAL MUSIC. OLD CASTLE STREET (Mixed). Responsible Teachers: Mr. D. Moses (Males). Miss H. J. Blisset (Females). Instructor : Mr. A. Tobias. (1) " Yeoman of the Guard " (Sullivan). (2) " Patience " (Sullivan). 19 TUESDAY, 16th December, 7.30 to 8. PHYSICAL EXERCISES. MONTEITH ROAD (Females). Responsible Teacher : Mr. E. R. Langford. Instructress : Miss R. C. Jones. (1) Musical Drill. (2) Swedish Drill. 8 to 8.30. VOCAL MUSIC. MONTEITH ROAD (Mixed). Responsible Teacher : Mr. E. R. Langford. Instructress : Miss R. C. Jones. (1) Trios — " Whither hath the woodthrush flown " (O. Verne), "Little Celandine" (Oscar Verne),, "Oh! by rivers" (O. Verne). (2) Four-part Song — " The Maiden of the Fleur- de-Lys " (E. A. Sydenham). (3) Unison Songs — "The Children's Home " (Cowen), " The Redemption " (Behrend) 8.30 to 9. FIRST AID. MILLWALL (Females). Responsible Teacher : Mr. G. Frankland. Lecturer : Dr. Cardale. Assistant : Mrs. T. S. Pike. (1) Specimens of triangular bandaging. (2) Specimens of roller bandaging. (3) Fractures. (4) A boy found drowned. (5) A street accident. 9 to 9.30. DRILL. DEMPSEY STREET (Males). Responsible Teacher : Mr. T. J. Bailey. c Instructors : Messrs. A. Gates and F. Kiy. (1) Dumb-bells. (2) Indian Clubs. (3) Parallel Bars. 20 WEDNESDAY, 17th December, 7.30 to 8. GYMNASTICS. THOMAS STREET (Males). (Commercial and Science and Art). Responsible Teacher : Mr. R. Wretts-Smith. Instructor: Mr. Jones. 8 to 8.30. VOCAL MUSIC. COMMERCIAL STREET (Males). Responsible Teacher : Mr. M. Bucks. (1) " Sambo am a Slave " (H. Longhurst and G. G. Lewis). (2) "Hail to the Chief" (Bishop). (3) "We'll sing a merry roundelay" (Ernest Nichol). (4) " May Day Festival » (Laurent de Rille). 8.30 to 9. DRILL. SINGLE STREET (Females). Responsible Teacher : Mr. W. H. Everett. Instructors : Miss R. Eamonson and Mr. F. Kiy. (1) Dumb-bells. (2) Indian Clubs. 9 to 10. INSTRUMENTAL MUSIC. BROMLEY HALL ROAD (Mixed). Responsible Teacher : Mr. D. Flynn. Conductor : Mr. J. Milne. 1. March — "Faust" (Gounod). 2. Schottische — "Baden-Powell" (Ida Hampden). 3. March — "Guard of Honour" (Guist). 4. Fantasia — "Victoria Cross" (Ezra Read). 5. Selection — " Honeysuckle, and the Bee " (W. H. Penn). 6. 'March — " The Beefeaters " (Guist). 7. Fantasia—" Scotch Airs » (Volti). 8. Gavotte — " Heimliche Liebe " (Resch). 9. Schottische— " The Ruby" (Guist). * 10. March—" Scipio " (Arr. by Volti). 11. Intermezzo — "Forget me not" (Arr. by Volti). 12. March— " Coronation " (Ezra Read). THURSDAY, 18th December, 7.30 to 8. GYMNASTICS. KNAPP ROAD (Males). Responsible Teacher : Mr. F. Wright. Instructor : Mr. G. Rudd. (1) Free Exercises. (2) Parallel Bars. (3) Vaulting Horse. 8 to 8.30. VOCAL MUSIC. SINGLE STREET (Mixed). Responsible Teacher : Mr. W. H. Everett. Conductor : Mr. E. Hall. Accompanist : Mrs. S. Clarence. (1) " Hail, smiling morn," (2) " From Oberon," (3) Glee. 8.30 to 9. GYMNASTICS. DEMPSEY STREET (Males). Responsible Teacher : Mr. T. J. Bailey. Instructors : Messrs. A. Cates and F. Kiy. (1) Dumb-bells. (2) Indian Clubs. (3) Parallel Bars. 9 to 9.30. VOCAL MUSIC. /ST. LEONARD'S ROAD (Males and Females). Responsible Teachers : Mr. G. A. Webzell (Males), Miss B. Goodwin (Females). Instructor : Mr. W. Harris. (1) Voice Training Exercises. (2) Round a Come, follow me." (3) Hand Signs — two parts. (4) "Let the hills' resound with song " (Brinley Richards). (5) " The Hardy Norseman." 22 FRIDAY, 19th December, 7.15 to 7.45. WOODCARVING. DALGLEISH STREET (Males). Responsible Teacher : Mr. J. Sutton. 8 to 8.30. MUSICAL DRILL. DALGLEISH STREET (Males). Responsible Teacher : Mr. J. Sutton. Instructor : Mr. G. Boyden. 8.30 to 9. FIRST AID. GILL STREET SCHOOL (Males). Responsible Teacher : Mr. A. Sanders. Lecturer : Dr. Dudley. Assistant : Mr. T. W. Deason. (1) General Bandaging. (2) Arrest of bleeding. (3) Treat- ment of fractures. (4) Resuscitation of the apparently drowned. (5) Methods of lifting and carrying the wounded (a) by two, three, and four-handed seats, (b) by stretcher. (6) An acci- dent. 9 to 9.30. GYMNASTICS. ST. LEONARD'S ROAD Males). Responsible Teacher : Mr. G. A. Webzell. Instructor : Mr. Rudd. (1) Vaulting Horse. (2) Parallel Bars, SATURbAY, 20th becembeh, 6 to 7. WOOD CARVING. THOMAS STREET (Males). Responsible Teacher : Mr. R. Wretts-Smith. 7 to 7.30. GYMNASTICS. MALMESBURY ROAD (Females — Commercial) . Responsible Teacher : Mr. H. F. E. Dawson. Instructress : Miss Berry. (1) Dumb-bells. (2) Marching. (3) Apparatus. 7.30 to 8, DRAMATIC LITERATURE. SETTLES STREET (Females). Responsible Teacher : Mrs. Daniel. Instructress : Miss Martin. " As You Like It," (Act. I., Scene III.). (Rosalind — Millie Finglestein ; Celia — Amelia Barnett ; "Much Ado About Nothing," (Act IV., Scene I.). [From a, How doth the Lady" to "Hence from her. Let her die"] (Leonato — Fanny Wolfewitz ; Benedick — Jane Harris ; Friar — Milly Segal ; Beatrice — Celia Goldstein ; Hero — Fanny Brand.) 9 to 9.30. GYMNASTICS. FARRANCE STREET (Males). Responsible Teacher : Mr. F. J. Edmunds. Instructor : Mr. R. A. Carr. (1) Gymnastic Marching. (2) Indian Clubs. (3) Parallel Bars. 8.30 to 9.30. INSTRUMENTAL MUSIC. ST. SAVIOUR'S, POPLAR (Mixed). Responsible Teacher : Mr. F. R. Matley. Instructor : Mr. F. W. Weller. 1. Grand March— " Triomphe " (E. L. Hime). 2. Gavotte — " Immer Wieder " (W. Vandervell). 3. Valse — "Peacefully Dreaming" (Douglas Blake). 4. Graceful Dance — " Edina " (W. Vandervell). 5. Entr'acte Gavotte — " Carrick " (Cecil Neilson). 6. Intermezzo — " Forget me not " (Allan Macbeth). 7. Old Dance — " Irene " (W. Vandervell). 8. Graceful Dance — " Gretta " (Oscar May). 9. Valse — " Madame Sans-Gene " (Jasper Vale-Laiie). 10. Old English Dance— " Henry VIII." (W. Vandervell). 11. Gavotte—" Les Cloches de S. Malo " (W. Rimmer). 12. Selection— " Brooklyn " (T. W. Thurban). 24 It has been thought that a Loan Picture Collection, on the same lines as a Free Lending Libraiy, might be of use in familiarising people, especially children, with good pictures. A collection of Loan Pictures is being organised in con- nection with the Whitechapel Art Gallery. Some of these framed pictures are hung on the stairs. These pictures can be borrowed by children and other people, who wish to do so, as books are borrowed from the Free Libraries. Those wishing to borrow the pictures will find forms at the turnstile. These forms must be signed by a householder, or, in the case of children, by a teacher. The Gallery will be open on the last Tuesday in each month, from 5 to 6 p.m., for the borrowing and changing of pictures. No picture must be kept longer than a month without renewal. Short printed descriptions will be supplied with the pictures. It is hoped, that in time, water-colour sketches and other original works will be added to the present collection of photographs and reproductions. P. & H., Lond