tions, no barrier to the creative activity embodying in splendid edifices the passionate aspiration after the perfect from which all great work springs. Remote from human passions, remote even from the pitiful facts of nature, the generations have gradually created an ordered cosmos, where pure thought can dwell as in its natural home, and where one, at least, of our nobler impulses can escape from the dreary exile of the actual world.
So little, however, have mathematicians aimed at beauty, that hardly anything in their work has had this conscious purpose. Much, owing to irrepressible instincts, which were better than avowed beliefs, has been moulded by an unconscious taste; but much also has been spoilt by false notions of what was fitting. The characteristic excellence of mathematics is only to be found where the reasoning is rigidly logical: the rules of logic are to mathematics what those of structure are to architecture. In the most beautiful work, a chain of argument is presented in which every link is important on its own account, in which there is an air of ease and lucidity throughout, and the premises achieve more than would have been thought possible, by means which appear natural and inevitable. Literature embodies what is general in particular circumstances whose universal significance shines through their individual dress; but mathematics endeavours to present whatever is most general in its purity, without any irrelevant trappings.
How should the teaching of mathematics be conducted so as to communicate to the learner as much as possible of this high ideal? Here experience must, in a great measure, be our guide; but some maxims may result from our consideration of the ultimate purpose to be achieved.
