MR. Walter Crane presided at the after-noonsession. He said that it seemed tohim that on the one side the study and practice of art became mote and more individualistic, and in that direction it appeared to open up more and more scope for individual expression in the record of the phases and tacts of nature, or the ideas of the mind. It seemed to him that every age - one might almost say every generation de manded a new interpretation in art, both of the facts and phases of nature, and of the ideas of the mind and the imagination. It did not seem possible to explain this constant change which is going on, and the very great difference one observes between the art of one age and that of another, without some such supposition, and it was natural enough, when the ideas of things in general changed, that the ideas of art, which was only another expression of another state of mind, should change also. The difficulty seemed to be the lack of a teaching system capable of expansion without dislocation. What was needed more than anything else was a substantial root of sound tradition upon winch fresh ideas might be grafted from time to time. There should also be some definite idea as to the future of the student. We train him in a handicraft and then send him adrift. It was very like training hands on board ship to know all the ropes, and then throwing them overboard. Personally, he thought that every art should be taught as a handicraft.

During the intermission the much-discredited drawings from the Japanese elementary schools had been removed from exhibition, and an interesting series of nature studies by pupils of the Birmingham Municipal School of Art had taken their place. There were not only studies of plant life, but a variety of drawings of animals - shaded studies of living models as well as of stuffed specimens. They were not so good as the Japanese drawings they replaced, but apparently they were genuinely the work of children.