and mediate intellectual, esthetic, moral, and volitional activities and feelings. For these higher centres of reason, judgment, and imagination, adolescence is the nascent period of growth. The energy that earlier went to increase the size of the brain is now directed to increasing its complexity by the development of a network of finer fibres with which co-ordinated the higher powers of the mind. The child cannot reason according to adult standards before fourteen, and any attempt to stimulate the reason before that age is unnatural and stunting. Says Dr. Hall: "The dawn of reason marked by the appetency for crude logical processes, the shadowy grasping of new and great conceptions, and the silent reverie and dreams of dawning adolescence, may be the first psychic function of new neural parts." Adolescence is the age, then, no longer of mere sense-curiosity, but of true intellectual investigation and analysis, of reflection and science. The youth is interested not merely in things themselves, but in their real nature, and in their relations to other things. The critical faculties are aroused and a higher self-consciousness evolves.
The imagination, which is in childhood so rich, but in boyhood and girlhood becomes submerged by the actual, has a new birth in adolescence, which is the nascent period for the appreciation of the beautiful and sublime in nature and art. It is interesting to observe the development of the art-instinct. The drawings of children under ten are not objective, but subjective. Young children draw not from immediate objects, but from mental images, which they freely put together in very strange and fragmentary, but often effective, ways to produce life in movement. To them drawing is not an art, but a language, which they love and should consequently be encouraged to develop in their own childish way. They take no account of perspective or proportion and are not ready to solve perspective problems. Their drawings resemble the grotesque symbolic drawings by means of which primitive man expressed his ideas. At ten, however, boys and girls incline more and more to draw what they see, and they look more critically and see more understandingly. This, then, is the time to begin special instruction in imitative drawing that strives to reproduce the outer world. Boys and girls from eight to twelve take special interest in picturing continuous stories, displaying courage, energy, and naivete in their efforts. This is the nascent period, therefore, for this form of expression, a fact that should be, but seldom is,
