rtunities for the practice of many languages, for it is a
cosmopolitan centre. Nearly all European nationalities are represented,
but as yet the number of English people is not large. This, however,
will not long remain so, for the Jaques-Dalcroze method needs only to be
known in order to be as widely appreciated in Great Britain and the
United States as it is on the Continent.

The lessons are given in German, though occasionally French is used to
make clear anything that is not quite understood in the former tongue.
English people who do not know either of these languages need not look
upon this as an obstacle, for one quickly arrives at understanding
sufficiently well to gain the benefit from the lessons, and there is
always some one in the classes who will interpret when necessary.

The College itself is a fine example of the value of simplicity and
space in architecture. Both without and within, the block of buildings
is impressive, this effect being gained by an extreme simplicity of
decoration. The most modern methods of heating and ventilating are
provided, and there are large sun and air baths.

Completed in the spring of this year, and with accommodation for five
hundred students, the settlement stands on high ground about four miles
from Dresden, in an open, bracing, healthy spot, with charming walks in
all directions. The views are extensive; to the south lie the
Erzgebirge, to the south-east Saxon Switzerland, and, in a dip of the
nearer hills, Dresden.

ETHEL INGHAM.

THE VALUE OF EURHYTHMICS TO ART

One of the most marked tendencies of modern aesthetic theory is to break
down the barriers that convention has erected between the various arts.
The truth is coming to be realized that the essential factor of poetry,
painting, sculpture, architecture and music is really of the same
quality, and that one art does not differ from another in anything but
the method of its expression and the conditions connected with that
method.

This common basis to the arts is more easily admitted than defined, but
one important element in it--perhaps the only element that can be given
a name--is rhythm. Rhythm of bodily movement, the dance, is the earliest
form of artistic expression known. It is accompanied in nearly every
case with rude music, the object being to emphasize the beat and
rhythmic movement with sound. The quickness with which children respond
to simple repetition of beat, translating the rhythm